Kim Cruz: Panasonic 25mm 1.7 vs 42.5mm 1.7 for B ROLL- watch before buying!

“Which lens is better for b roll? Which is better for the buck? Today we’ll look at 2 highly acclaimed lenses from the M43 system in this Panasonic shootout for B ROLL!…”

Commentary

One of the many joys of Micro Four Thirds hybrid mirrorless cameras is their range of price points from affordable through to high-end and the same is true of lenses, making the M43 sensor format attractive to those of us just breaking into stills and video as well as more experienced practitioners.

While I often write about flagship M43 cameras and lenses here, I also use and value lower priced M43 gear for its affordability, smaller size and weight and its usefulness for discrete photography and b-roll video especially in multi-camera set-ups.

New vlogger Kim Cruz has recently produced some short, sharp videos about some of these affordable choices.

Lest one succumb to the commonly held belief that M43 sensor photographs cannot look as good as those from larger sensor cameras, I recommend trying out DxO PhotoLab and its companion applications for processing your M43 raw files.

I received a Panasonic Lumix G 25mm f/1.7 Aspheric prime lens with my Panasonic Lumix DMC-GX8 camera as part of a promotion at the time and often use it for available darkness stills and video as well as in conjunction with the GX8’s wonderful tilting electronic viewfinder aka EVF when emulating the look of my former Rolleiflex Twin Lens Reflex cameras.

Other small Micro Four Thirds prime lenses for stills and video

Links

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aurora-aperture_powerxnd_2000_variable_neutral_density_filter_46mm_01_1024px_80pc
Aurora-Aperture 46mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)

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

  • Aurora-Aperture 37mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H – Top quality variable neutral density aka VND filters are a great choice for fast-moving documentary cinematography as opposed to a set of fixed density neutral density filters. Small, narrow filter diameter lenses like the ones discussed by Kim Cruz in these videos can benefit from having their own native-sized VND filters attached when shooting video due to the size and weight of stacking up step-up rings to attach 77mm or 82mm ND or VND filters.
  • Aurora-Aperture 46mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H
  • Chiaro brass UV protection filtersB&H – I recommend brass filters for lens protection as they are not susceptible to binding like many aluminium-framed filters. Chiaro makes an excellent collection of brass-framed UV filters in filter diameter sizes from 37mm through to 122mm.
  • Heliopan 37-46mm Step-Up Ring (#745)B&H – I use a variety of brass step-up rings made by Breakthrough Photography, Heliopan and Sensei Pro. Brass step-up rings are best to avoid binding but they cost and weigh a little more than aluminium step-up rings. I like Breakthrough Photography’s step-rings the best due to their unique heavily-knurled traction frame but the company does not make all the sizes you may need such as 37mm, 40.5mm and 43mm.
  • Olympus M.Zuiko Digital 17mm f/1.8 LensB&H – Filter diameter = 46mm.
  • Panasonic Leica DG Summilux 25mm f/1.4 ASPH. LensB&H– Filter diameter = 46mm.
  • Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH. POWER O.I.S. LensB&H – Filter diameter = 67mm.
  • Panasonic Lumix G 20mm f/1.7 II ASPH. Lens (Black)B&H – Equivalent in 35mm sensor terms to the 40mm “perfect normal” focal length, this pancake lens is better suited to stills photography than video but is a much-loved focal length for many movie directors and stills photographers. Filter diameter = 46mm.
  • Panasonic Lumix G 25mm f/1.7 ASPH. LensB&H – Filter diameter = 46mm.
  • Panasonic Lumix G 42.5mm f/1.7 ASPH. POWER O.I.S. LensB&H – Filter diameter = 37mm.

David Thorpe: Big and Bad, Little and Good.

http://m43blog.dthorpe.net/2018/06/14/big-and-bad-little-and-good/

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.”

https://creativityinnovationsuccess.files.wordpress.com/2017/11/
Panasonic Lumix DC-G9 with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric zoom lens. David Thorpe has adopted the G9 as his prime stills camera for professional work and uses and range of Olympus and Panasonic lenses.

Commentary

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.

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 Thirds cameras 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….”

veydra_mini_prime_6_lens_kit_12mm_16mm_25mm_35mm_50mm_85mm_m43_with_6_lens_case_metric_focus_scale_1920px
Shooting video only? Veydra Mini Prime 6 Lens Master Lens Kit with 6 Lens Case (MFT Mount, Meters). I would swap the 19mm lens for the 85mm lens and have some Veydra Mini Prime Fuji X-Mounts on hand when needing to use some of them on Fujifilm cameras.

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.

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Heliopan 37-58mm Step-Up Ring (#789), which then needs to be attached to a 58-77mm or 58-82mm step-up ring to allow attaching variable or fixed ND filters for video production. I recommend knurled brass set-up rings by Breakthrough Photography for the purpose.

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.

Compromises, compromises.

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.

olympus_m-zuiko_pro_collection_1920px_60%
The Olympus M.Zuiko Pro lens line-up as of late October 2017.

Links

  • Breakthrough Photography Step Up Ring
  • David Thorpe – Big and Bad, Little and Good.
  • 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.”
  • Olympus GlobalM.Zuiko Pro
  • Points in Focus – Depth of Field (DoF), Angle of View, and Equivalent Lens Calculator
  • PolarProStep-Up Rings
  • SenseiStep-Up Rings
  • Veydra

Help support ‘Untitled’

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Olympus M.Zuiko Digital 17mm f/1.8 lens with lens shade, also available in black. Great for stills photography, not so much for video?

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

  • Heliopan step-up ringsB&H
  • Olympus M.Zuiko Digital ED 12mm f/2 LensB&H
  • Olympus M.Zuiko Digital 17mm f/1.8 LensB&H
  • Olympus M.Zuiko Digital 25mm f/1.8 LensB&H
  • Olympus M.Zuiko Digital 45mm f/1.8 LensB&H
  • Panasonic Lumix G 42.5mm f/1.7 ASPH. POWER O.I.S. LensB&H
  • Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II ASPH. MEGA O.I.S. LensB&H
  • PolarPro step-up ringsB&H
  • Sensei Pro step-up ringsB&H
  • Veydra 19mm T2.6 Mini Prime Lens (MFT)B&H
  • Veydra Mini Prime 6 Lens Master Lens Kit with 6 Lens Case (MFT Mount)B&H
  • Veydra Mini Prime Fuji X-MountB&H

Aurora Aperture Inc.: PowerXND Mark II – The Best Variable ND Filters 1 – 11 Stops – Kickstarter Campaign

“… Schott B270® glass and high quality polarization film from Nitto Denko are used to build the PowerXND-II. Combined with a proprietary post-bonding polishing process the filters are able to meet high resolution demands of 4k/8k video and the high pixel density of modern day camera sensors. Multilayer nano coatings are utilized for light reduction, thus minimizing color shift. The PowerXND-II features high color accuracy on par with the benchmark of fixed ND filters….

Aurora Aperture PowerXND Mark II Variable Neutral Density Filters

Commentary

blackmagic_pocket_cinema_camera_4k_bmpcc4k_06_1024px_60pc
The Blackmagic Pocket Cinema Camera 4K by Blackmagic Design has dual native ISO like other contemporary cinema cameras and video cameras such as Panasonic’s Lumix DC-GH5S, with both base ISOs being rather high, demanding a wider range of densities in fixed or variable neutral density filters. The BMPCC 4K also requires IR-cut filtration whether built into NDs used with it or as a separate filter stacked on top.

Several days after its Kickstarter campaign launch on June 14, I accidentally come across this one for what looks to be a very promising new development in high-quality variable neutral density (VND) filters by California-Based Aurora Aperture Inc., makers of the PowerXND 2000 VND filters series.

The PowerXND 2000 VND filter with its 6mm thin frame is available in filter diameters of 37mm, 39mm, 40.5mm, 46mm, 52mm, 55mm, 58mm, 62mm, 67mm, 72mm, 77mm, 82mm, 86mm, 95mm, and 105mm.

That 105mm diameter and 6mm thickness sounds like a possible solution for STC Optical & Chemical’s Screw-in Lens Adapter for Olympus 7-14mm F2.8. for the Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro wide-angle zoom lens with manual clutch focus.

My chance discovery of Aurora Aperture’s current campaign happened too late to take advantage of the Large Early Bird (67-82mm) $US 150.00 pledge for one PowerXND-II 128 and one PowerXND-II 2000 in any size including  67mm, 72mm, 77mm or 82mm.

I would have chosen one PowerXND-II 128 and one PowerXND-II 2000 in 82mm diameter to account for the native and adapted lenses with wider filter diameters that are appearing nowadays for mirrorless hybrid APS-C and Micro Four Thirds cameras including the amazing Blackmagic Pocket Cinema Camera 4K by Blackmagic Design.

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Fujifilm X-H1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens, with 82mm filter diameter.

Formerly I standardized on 77mm filter diameters in conjunction with Breakthrough Photography’s excellent knurled brass step-up rings but now I am upgrading to 82mm with step-up rings also made by Breakthrough Photography for use with lenses like Fujifilm’s MKX 18-55mm T2.9 and MKX 50-135mm T2.9 parfocal zooms.

Major time zone differences between where I am now – Sydney, Australia – and where many of the most interesting Kickstarter campaigns originate – the United States and less so the United Kingdom – also mean that one often misses out on early bird specials for popular products such as those by Aurora Aperture Inc.

The moral of the story? Hope that you are going to hear about exciting new products like this one early enough despite the reality of time zone differences then leap in fast to catch the earlybird offer because it will be gone within hours if not minutes.

One thing that Aurora Aperture Inc. does not cover in its press release and other information about the two PowerXND Mark II Variable Neutral Density Filters is their infrared cutting capabilities, especially important in the light of the coming Blackmagic Design Pocket Cinema Camera 4K which does not have built-in IR-cut filtration and thus requires the use of neutral density filters with IR-cut capability, or special extra IR-cut filters to add to the filter stack on your lenses.

I enquired about this and Jeff Chen of Aurora Aperture Inc. replied thus:

Regarding the IR cut capability, we don’t have specific IR cut functionality in our filters. It’s something in our development plan and we have done some prototyping so far. We may release a line of products later this year with IR cut capability and certainly the BMPCC and BMPCC 4k are the target cameras for the products.

Good and bad news then for users of Blackmagic Design’s amazing Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K and its BMPCC predecessor – good in that a solution may be coming but bad in that we shall have to forgo Aurora Aperture’s current Kickstarter campaign and hope that another campaign for IR-cut capable versions of these two otherwise very attractive VND filters may eventually turn up.

Or, pledge to both versions of the PowerXND Mark II filters, IR-cut-less and IR-cut-equipped.

Given that many independent moviemakers relying on cameras by Blackmagic Design, Fujifilm and Panasonic are not exactly flush with cash, better perhaps to wait it for now if you use cameras that do and do not require an IR-cut solution.

Alternatively RAWLITE’s IR-cut OPLF may offer the optimal solution thus freeing users of the Blackmagic Pocket Cinema Camera 4K up to use non-IR-cut VNDs like these from Aurora Aperture.

Links

Help support ‘Untitled’

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

  • Aurora Aperture filtersB&H
  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Fujifilm MKX18-55mm T2.9 Lens (Fuji X-Mount)B&H
  • Fujifilm MKX50-135mm T2.9 Lens (Fuji X-Mount)B&H
  • Fujifilm X-H1 Mirrorless Digital Camera Body with Battery Grip KitB&H
  • Fujifilm X-T2 Mirrorless Digital Camera Body with Battery Grip KitB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H

A Quick Look at Olympus M.Zuiko Digital ED 45mm f/1.2 Pro Prime and 7-14mm f/2.8 Pro Zoom: They’re out of this World!

A mini photo expo at a local shopping centre provided an opportunity to briefly try out two Olympus M.Zuiko Pro lenses, the just-arrived Olympus M.Zuiko Digital ED 45mm f/1.2 Pro prime lens and the older Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro zoom. 

Olympus M.Zuiko Digital ED 45mm f/1.2 Pro
Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro at about 10.5mm, my favourite scene-setting aka establishing shot focal length equivalent to 21mm in the 35mm format.
Olympus M.Zuiko Digital ED 45mm f/1.2 Pro

With the ending of the major photography trade show in Australia, chances to see and try before you buy have become even more rare than they have ever been, so I was grateful for the small display of mirrorless cameras and lenses at one side of the expo opposite the two DSLR makers.

It was good to see Fujifilm’s X-E3 again and I caught up with the new Sony Alpha a9 camera so many colleagues have been raving about, but the star of the show for me was the Olympus table.

Panasonic was mysteriously absent and all the poorer for it given how beautifully its Lumix cameras go together with Olympus’ M.Zuiko Pro lenses for cinematography and photography, especially given their unique manual clutch focus option.

I also managed to pick up and sight through the amazing Olympus M.Zuiko Digital ED 300mm f/4.0 Pro telephoto lens. Photograph via cellphone.

Super wide-angle lenses present something of a quandary when it comes to filters, given they often have wide convex front lens elements that prevent easily attaching screw-on filters.

Using such lenses for video presents even more of a quandary, especially for solo operators working in documentary moviemaking who must travel light, are self-funded and must watch their budgets.

Travelling light, working handheld and keeping your camera rigs small, neat and discrete rules out traditional moviemaking standbys like matte boxes holding large, costly square or rectangular filters which are fine for feature filmmaking and slower, more deliberate approaches.

The Olympus M.Zuiko Pro lens line-up as of late 2017, early 2018. More fast primes please, Olympus!

Luckily several optical filter makers have turned their efforts to the problem of attaching filters to convex-fronted lenses like the Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro, though until recently all such filter adapter solutions have only worked with big slide-in glass or plastic filters 100mm, 150mm or 165mm square or wide.

And then, I came across a hitherto unknown camera filter and accessories maker by the name of STC Optical & Chemical in Taiwan, and discovered they are offering a screw-in lens adapter for the M.Zuiko Pro 7-14mm f/2.8 and an adapter for Panasonic’s own 7-14mm lens, the slower Lumix G Vario 7-14mm f/4 Aspheric zoom, also with a convex front element.

I have yet to come across any hands-on reviews by cinematographers of the STC Olympus 7-14mm filter adapter but have been researching the availability of high quality 105mm UV, circular polarizing and ND filters in density values suitable for moviemaking.

STC Optical & Chemical’s Screw-In Lens Adapter for Olympus 7-14mm f/2.8 Pro Lens

It appears that options are rather limited insofar as 105mm diameter filters go, especially in regard to ND filters which are dominated by the Formatt Hitech brand in different product ranges and very different price points.

Options are further limited regarding 105mm diameter versions of the fallback filter for run-and-gun documentary moviemakers, the variable ND, with just two turning up in my search at B&H today, the Aurora-Aperture 105mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops) and the Formatt Hitech 105mm Multistop Neutral Density Filter rated at 1 to 6 stops.

Given the brightness of sunny days like today, a 6-stop maximum density is not dense enough and will need to be supplemented with fixed, single value ND filters, abnegating the utility value of variable NDs in the first place.

I have no firsthand experience with Aurora-Aperture products but 4 to 11 stops ND seems more useful.

Another possibility, or more appropriately hope, is that STC Optical & Chemical may choose to supplement its current 105mm 6-stop ND filter with more.

One typical fixed neutral density filter set contains 2, 4, 6, 8 and sometimes 10 stops, while another comprises 3, 5, 7, and 9 stops.

STC might choose to produce a 105mm version of its STC Ultra Layer Variable ND16-ND4096 filter, possessing an eye-popping range of 3.5 to 12 stops, or the STC Ultra Layer Variable ND2-ND1024 filter’s slightly shorter 1 to 10-stop range, with this filter also currently only available in diameters up to 82mm.

What is the answer?

If I can find the answer to the variable or fixed circular ND filter set question for the Olympus M.Zuiko Pro 7-14mm f/2.8 filter, then the lens and its filter solution will go straight to the top of my documentary video hardware wish list followed by the M.Zuiko Pro 17mm f/1.2, 25mm f/1.2 and 45mm f/1.2 professional-quality prime lenses.

I have made enquiries about their relevant products to STC Optical & Chemical and will report back here soon.

Of STC’s current Olympus Screw-In Lens Adapter packages, I am tempted by the adapter plus UV filter for stills photography, the circular polarizer for architectural photography and city scenes in video, and the 6-stop ND with the hopes that 2, 4, 8 and 10 stops ND filters will be appearing soon.

Or I may opt for either of STC’s Ultra Layer Variable NDs if they become available in a diameter of 105mm.

Links

Tech Notes

Location photographs very quickly made with Panasonic DMC-GX8 using Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro lenses with raw files processed in DxO PhotoLab with DxO FilmPack as a plug-in, applying colour negative film simulation presets along with minimal other processing.

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

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

  • Aurora-Aperture 105mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H – a versatile range of 4 to 11 stops.
  • Breakthrough Photography 105mm X4 UV Filter (Brass)B&H
  • Breakthrough Photography 105mm X4 UV Filter (Titanium)B&H
  • Formatt Hitech 105mm Multistop Neutral Density FilterB&H – ranges from 1 to 6 stops, falling short of the ideal daylight upper end of 8 to 10 stops.
  • Fujifilm X-E3 Mirrorless Digital Camera – B&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro – B&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 Pro – B&H
  • Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4 Aspheric LensB&H
  • Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix G Vario 7-14mm f/4 Aspheric LensB&H
  • Sony Alpha a9 Mirrorless Digital CameraB&H