#Super 16/M43

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Photo Gallery: National Day of Action: Stop Black Deaths in Custody at Sydney Town Hall on April 10, 2021

Photo Gallery: National Day of Action: Stop Black Deaths in Custody at Sydney Town Hall on April 10, 2021

I attended and photographed the National Day of Action: Stop Black Deaths in Custody protest at the Town Hall in Sydney on Saturday, 10th April, 2021 and, expecting big crowds and tight spaces in one of my least favourite locations, went minimal with my trusty Panasonic Lumix DMC-GX8 rangefinder-style digital camera and my equally trusty Olympus M. Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom…

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New Post has been published on http://www.updatedc.com/2018/11/02/sigma-40mm-f1-4-art-lens-for-1399-56mm-f1-4-dc-dn-c-for-479-available-for-pre-order-leave-a-reply/

Sigma 40mm F1.4 Art Lens for $1,399, 56mm F1.4 DC DN C for $479, Available for Pre-order ! Leave a reply

Good News!!! The newly announced Sigma 40mm F1.4 DG HSM Art Lens and Sigma 56mm F1.4 DC DN Contemporary Lens are now available for pre-order in most US stores.  Sigma 40mm F1.4 Art lens will cost $1,399 available for Canon EF/ Nikon F and Sigma SA mounts. Sigma 56mm F1.4 DC C lens will cost  $479 available for M43 and Sony E mounts.

 Sigma 40mm f/1.4 DG HSM ART–Pre-Order– Adorama/ B&H

Product Highlights

Full-Frame Format

Aperture Range: f/1.4 to f/16

Three FLD Elements, Three SLD Elements

One Aspherical Element

Super Multi-Layer Coating

Hyper Sonic AF Motor, Manual Override

Weather-Sealed, Protective Front Coating

Rounded 9-Blade Diaphragm

Compatible with Sigma USB Dock

Sigma 56mm f/1.4 DC DN Contemporary Lens–Pre-Order– Adorama/ B&H

Product Highlights

Micro Four Thirds / Sony ESystem

Aperture Range: f/1.4 to f/16

One SLD Element, Two Aspherical Elements

Super Multi-Layer Coating

Stepping Motor AF System

Weather-Sealed Construction

Rounded 9-Blade Diaphragm

Source from lens-rumors

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Programmed Mode: The best underrated assistant

The Programmed Mode (P) is usually confused with the infamous Automatic mode (Auto) and it's often being looked down on, but many people can't differentiate the two. In common sense, the camera manufacturers are not stupid to include two identical functions into the same product for nothing.

The Auto mode pretty much does everything for you. Its algorithm chooses the aperture, the shutter speed, ISO and all that jazz; fortunately, you can still tell them when and where to take the picture! The auto-shooter has 100% dependant on the camera. The bright side of a no-brainer thing is it's super fast, so it's for taking snapshots, back-staged or even journalism photography. The downside is, of course, you can't do anything about its decision.

Before tackling the P mode, let's talk about the 'right exposure'. It's a subjective term. It's right when the light brightens your subject and dims what you want to cover. As a result, all meter readings are relative. In terms of aperture - shutter speed relationship, if the aperture opens up then the shutter speed must be tuned faster to keep the light level the same. For instance, if I consider a picture of a pot at f/2.8 and 1/1000s the correct exposure, then with the following settings at {f/4-1/500s, f/5.6-1/250s, f/8-1/125s, f/11-1/60s, f/16-1/30s, f/22-1/15s}, the meter readings are roughly the same.

That is precisely what P does. It meters the whole scene using the Exposure Triangle system (read more at: http://tinyurl.com/l3q5s8k) and lists out every single eligible aperture - shutter speed combination. All you have to do is scroll through all that and choose the one with the desired effect to work with. Besides that, all the different settings including ISO, white balance or exposure compensation will be totally under your command.

For example, for shooting a marathon guy on the run, we'll keep scrolling through the options till the shutter speed goes faster than 1/1000s to freeze the actions on the scene; Or when taking portraits, keeping scrolling til the aperture is greater than f/4 to blur the background and give some separations to the subject. If the camera over/underexposed, simply use the exposure compensation setting to correct the scene.

I recommend using auto ISO if you're shooting with P mode because it would give you easier execution if the desired effect is out of range. The maximum auto ISO should be set at 6400 or 12800 for full frame, 3200 for APS-C and under 3200 for M43 cameras.

Overall, P is a fantastic mode and an amazing assistant for fast-shooter since it virtually contains both Aperture priority and Shutter speed priority modes.

When to use Manual mode then? Stay tuned, I'll tell you that soon enough!

Keywords: P mode, P vs Auto, ISO, ASA, Exposure, Metering, sensor size, Aperture priority, Shutter speed priority.

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“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 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

Sigma 16mm f/1.4 DC DN Contemporary prime lens for Micro Four Thirds mount and Sony E-mount cameras.

Sigma 30mm f/1.4 DC DN Contemporary prime lens for Micro Four Thirds mount and Sony E-mount cameras.

Sigma 56mm f/1.4 DC DN Contemporary prime lens for Micro Four Thirds mount and Sony E-mount cameras.

Sigma 18-35mm F1.8 DC HSM | A APS-C zoom lens.

Commentary

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 though 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 designed to the finest of optical standards to obviate the need for correction in software.

That aside, I have been looking for a medium telephoto portrait lens for Micro Four Thirds for some time now, and Sigma’s 56mm f/1.4 DC DN C may well fill the bill.

I originally got into portrait photography with Nikon’s Micro-Nikkor 105mm f/4.0 lens and focal lengths closer to 105mm in the 35mm sensor format are my first choice for work in the genre, so the 112mm equivalent of the 56mm lens is not a bad fit.

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

Amazon.co.uk – David Thorpe’s “Menu System Simplified” series of books, all highly recommended. 

David Thorpe. A Blog For And About Users of Micro Four Thirds Cameras.

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

DxO – maker of DxO FilmPack, DxO PhotoLab, DxO ViewPoint and Nik Collection.

DxOMark

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 Lens – B&H

Sigma 30mm f/1.4 DC DN Contemporary Lens – B&H

Sigma 56mm f/1.4 DC DN Contemporary Lens – B&H

Sigma 18-35mm f/1.8 DC HSM Art Lens – B&H

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.

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DPReview TV: Why we shoot our videos with mirrorless cameras (and not video cameras) – video

DPReview TV: Why we shoot our videos with mirrorless cameras (and not video cameras) – video

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Fuji Rumors: Fujifilm Manager: XF18mmF1.4 Resolution Beast (Ready for Fujifilm X-H2?), Why No Focus Clutch, Better than XF16/1.4 and More

Fuji Rumors: Fujifilm Manager: XF18mmF1.4 Resolution Beast (Ready for Fujifilm X-H2?), Why No Focus Clutch, Better than XF16/1.4 and More

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Peter Forsgård: Panasonic 10-25mm F1.7 - [FASTEST Wide-Angle Zoom] – video – Commentary

Peter Forsgård: Panasonic 10-25mm F1.7 – [FASTEST Wide-Angle Zoom] – video – Commentary

Panasonic 10-25mm F1.7 is the fastest Wide-Angle Zoom for MFT bodies…. Panasonic 10-25mm f1.7 lens was introduced in Photokina 2018. It was not until May 2019 when it was officially launched. It [is] the fastest wide-angle zoom for MFT.

Correction: This unique lens is better described as the fastest wide-to-standard zoom lens.

Pana…

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Get Your Panasonic Lumix DC-GH5 Features and How-To Videos Right Here

Get Your Panasonic Lumix DC-GH5 Features and How-To Videos Right Here

I have been watching Brighton-based Lumix Luminary Nick Driftwood’s  rake’s progress across the UK, India and Spain, wondering when the Panasonic Lumix GH5 will finally reach these shores and if there will ever be hands-on opportunities of the like of those occurring elsewhere in the world.  It may be quite some time until I can clap eyes on a GH5 in real life, so readers’ questions about the…

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https://www.imaging-resource.com/news/2018/05/11/olympus-17mm-f-1.2-pro-lens-review-best-wide-angle-for-micro-four-thirds

“Having earned the top spot as our Best Wide Angle Prime of 2017 in our annual Lens of the Year awards, we’ve now finalized our lab testing of the Olympus 17mm f/1.2 Pro lens. This 35mm-eq. wide-angle prime lens is undoubtedly a professional-level optic that offers excellent performance. Image quality is spectacular, even at f/1.2, with very low distortion and low chromatic aberration….”

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro professional-quality Micro Four Thirds prime lens with manual clutch focus rings drawn back for accurate, repeatable manual focussing at a quarter turn to go from infinity to closest focusing distance, excellent for stills photography and video production on hybrid cameras and cinema cameras.

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

Commentary

With the coming release of Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K aka P4K later this year, along with the already-released Panasonic Lumix DC-GH5 IBIS hybrid 4K stills/video camera and the Panasonic Lumix DC-GH5S high-end compact 4K video camera, attention is on affordable yet high-end professional-quality lenses capable of delivering excellent results whether manually-focussed or used with those cameras’ autofocus functionality if they have it.

After trying out prime and zoom optics from several ranges of Micro Four Thirds lenses, I have chosen to invest in Olympus’ M.Zuiko Pro range and will be adding more as availability and finances permit.

My documentary photography and moviemaking work demands gear that can withstand years of use and potentially challenging environments without succumbing, and the weather resistance, durability, quality and relative low weight and size put the M.Zuiko Pro lens range in the frame.

It is hardly surprising that the folks at Imaging Resource awarded their Best Wide Angle Prime of 2017 plaudit to the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro lens.

I have yet to have the pleasure of trying one out due to apparent local supply problems, but the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro is at the top of my lens wish list along with its 45mm and 25mm stablemates as well as the 5-stop image-stablized Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro zoom lens followed by the Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro wideangle zoom.

I will be adding Xume fast-on, fast-off filter holders, Breakthrough Photography brass knurled step-up rings and UV protection filters, and a full set of top-quality variable and fixed ND filters to my kit in the 82mm and 105mm sizes soon.

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro

Screenshot from the Olympus 2018 financial report.

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 professional prime lenses.

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro lens. Not shown in this photograph: retracting the focus ring activates the lens’ manual cutch focus mechanism, allowing for fast, accurate, repeatable focussing and focus pulling.

The M.Zuiko Pro 17mm f/1.2 on an Olympus Pen-F, probably not much larger or heavier than, say, the popular 12-40mm f/2.8 zoom lens.

Links

4/3 Rumors  – Olympus financial report discloses Olympus will keep focusing on high end mirrorless

Blackmagic Design – Blackmagic Pocket Cinema Camera 4K

Imaging Resource – Olympus 17mm f/1.2 Pro Lens Review: The best wide-angle prime for Micro Four Thirds

Olympus Global – M.Zuiko Pro

STC Optical & Chemical – Screw-in Lens Adapter For Olympus 7-14mm F2.8

Help support ‘Untitled’

Blackmagic Pocket Cinema Camera 4K (BMPCC 4K) with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens with manual clutch focus, great for manual focussing. I like the longer image-stabilized Olympus M.Zuiko Digital ED 12-100mm f/4.0 IS Pro zoom for available light daily walkabout needs for video and stills.

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

Blackmagic Design Pocket Cinema Camera 4K – B&H

Breakthrough Photography X4 UV and ND filters – B&H

Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO Lens – B&H

Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO Lens – B&H

Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO Lens – B&H

Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO Lens – B&H

Olympus M.Zuiko Digital ED 17mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 25mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO Lens – B&H

Olympus M.Zuiko Digital ED 45mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 300mm f/4 IS PRO Lens – B&H

Olympus M.Zuiko Digital MC-14 1.4x Teleconverter – B&H

Panasonic Lumix DMC-GH4 Mirrorless Micro Four Thirds Digital Camera – B&H

Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital Camera – B&H

Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera (Body Only) – B&H

Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H

Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital Camera – B&H

Xume – B&H

Imaging Resource: Olympus 17mm f/1.2 Pro Lens Review: The best wide-angle prime for Micro Four Thirds "Having earned the top spot as our Best Wide Angle Prime of 2017 in our annual Lens of the Year awards, we've now finalized our lab testing of the…

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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 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.

Voigtländer Nokton 42.5mm f/0.95

SLR Magic HyperPrime Cine 50mm T0.95

Veydra 50mm T2.2 Mini Prime

Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS

Panasonic Leica DG Nocticron 42.5mm f/1.2 Power OIS

Panasonic Lumix G X Vario 35-100mm f/2.8 II Power OIS

Olympus M.Zuiko Digital ED 40-150mm f/2.8 Pro

Links

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

Olympus Global – M.Zuiko Pro

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 Lens – B&H

Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO Lens – B&H

Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO Lens – B&H

Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO Lens – B&H

Olympus M.Zuiko Digital ED 17mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 25mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO Lens – B&H

Olympus M.Zuiko Digital ED 45mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 300mm f/4 IS PRO Lens – B&H

Olympus M.Zuiko Digital MC-14 1.4x Teleconverter – B&H

Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH. POWER O.I.S. Lens – B&H

Panasonic Lumix G 42.5mm f/1.7 ASPH. POWER O.I.S. Lens – B&H

Panasonic Lumix G X Vario 35-100mm f/2.8 II POWER O.I.S. Lens – B&H

SLR Magic HyperPrime Cine 50mm T0.95 Lens with MFT Mount – B&H

Veydra 50mm T2.2 Mini Prime Lens – B&H

LensTip.com: Olympus M.Zuiko Digital ED 45 mm f/1.2 PRO "... A long list of assets with only one more serious flaw and a record-breaking resolution performance - we don’t doubt that the…

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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….”

Panasonic Leica DG Nocticron 42.5mm f/1.2 Aspheric Power OIS prime lens, top of the list in ePHOTOzine’s Top 12 Best Panasonic Lenses 2018 list.

Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS lens, not on the list but still an excellent and more affordable choice.

Commentary

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.

All of Panasonic’s Micro Four Thirds lenses as of April 2017.

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 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 this 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.

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 f/2.5 II Aspheric prime lens

Here is my shortlist of small, discrete Panasonic Lumix G lenses for purchase secondhand:

Panasonic Lumix G 14mm f/2.5 II Aspheric – my favourite M43 focal length for immersive documentary photography, equivalent to 28mm in the 35mm sensor format.

Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS – highly recommended by David Thorpe as a daily “walk-around” lens.

Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II Aspheric Mega OIS – bundled as a kit zoom with some Lumix cameras and often available for reasonable prices secondhand, this makes a good second standard zoom lens for multi-camera video shoots.

Panasonic Lumix G 20mm f/1.7 II Aspheric – my preferred “standard” or “perfect normal” focal length.

Panasonic Lumix G 25mm f/1.7 Aspheric – more like a very short telephoto than standard lens, mine was bundled with my GX8 as an end-of-year promotion.

Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS – a fraction of the cost of the large though amazing Panasonic Leica DG Nocticron 42.5mm f/1.2 and reportedly an excellent lens in its own right.

Links

ePHOTOzine – Top 12 Best Panasonic Lenses 2018

ePHOTOzine – Top 13 Best Fujifilm Lenses Reviewed 2018

ePHOTOzine – Top 15 Best Olympus Micro Four Thirds Lenses 2018

ePHOTOzine – Top 35 Best Lenses For Micro Four Thirds Cameras 2017

Micro Four Thirds – Products – Lenses/Accessories

Help support ‘Untitled’

Clicking on these affiliate links 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.

Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH – B&H

Panasonic Lumix G X Vario 35-100mm f/2.8 Asph OIS – B&H

Panasonic Leica DG Elmarit 200mm f/2.8 Power O.I.S – B&H

Panasonic Lumix 35-100mm f/4-5.6 Asph Mega OIS – B&H

Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II – B&H

Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Asph – B&H – only available bundled with certain Lumix cameras in some territories and now unavailable as a standalone purchase via B&H.

Panasonic Leica DG Summilux 12mm f/1.4 ASPH – B&H

Panasonic Lumix G X Vario 12-35mm f/2.8 –B&H

Panasonic Lumix G 20mm II f/1.7 – B&H

Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 ASPH Pro – B&H

Panasonic LUMIX G 25mm f/1.7 ASPH – B&H

Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Asph – B&H

ePHOTOzine: Top 12 Best Panasonic Lenses 2018 "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...."

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DPReview: Panasonic Lumix DC-G9 Review

https://www.dpreview.com/reviews/panasonic-lumix-dc-g9 “The Panasonic Lumix DC-G9 is the brand’s highest-end stills-oriented camera, sitting beside the video-oriented Lumix DC-GH5 at the top of the product lineup…. … It seemed for a little while there, the two biggest players in the Micro Four Thirds world were splitting off into their own separate niches with Olympus going after the pro stills…

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4/3 Rumors: Panasonic GH5s officially announced!

https://www.43rumors.com/panasonic-gh5s-announced/ “Hands-on and previews: First impression at Dpreview. Cameras.reviewed. Test by Imaging Resource. GH5 vs A7sII by Dpreview. Review by Photographyblog. Review by Jacob James. Hands-on by CameraJabber. GH5 vs GH5s at CameraJabber. Spanish hands-on by Photolari. GH5 vs GH5 by Mirrorlesscomparison….” The Panasonic Lumix DC-GH5S for available light…

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When a documentary video or photography project about people involved in creativity and innovation is not in the offing, what else is there to do other than picking up the latest review loaner, placing another review loaner upon it then jumping on a train to head off for the closest reasonably busy suburban shopping destination the afternoon of New Year’s Eve 2017? 

Panasonic Lumix DC-GH5 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens, Guerrilla G-Cup for GH5 and Peak Design Clutch camera strap. I used a Panasonic Lumix G 25mm f/1.7 lens on the GH5 for my photographic walk through Chatswood depicted below.

Panasonic Australia’s media relations people kindly couriered over a GH5 just before Christmas, shortly after Guerrilla, formerly Miller & Schneider, sent over its G-Cup for GH5, and the G-Cup has been permanently fixed to the GH5 ever since.

It is still early days for me with the Guerrilla C-Cup but this first serious foray into shooting with it was a success.

New Year’s Eve 2017 was a hot and muggy day with constantly changing low-angle light filtering through the glare of a cloudy sky in Sydney’s northern suburb of Chatswood.

A Brisk New Year’s Eve Walk Through Chatswood with a Lumix GH5 and a Guerrilla G-Cup for GH5

DxO Optics Pro Elite with its companion applications cum plug-ins DxO FilmPack and DxO ViewPoint was the first dedicated raw file processor I bought after being less than impressed with Adobe’s Camera Raw of the time.

The DxO combination has been my raw processing benchmark provided, that is, the raw files in question are not Fujifilm X-Trans non-Bayer raw as DxO’s code base sadly only supports Bayer sensors.

Accordingly I processed my brisk walk images in DxO OpticsPro Elite, now renamed DxO PhotoLab, with DxO FilmPack and DxO ViewPoint as plug-ins.

This set of images was processed with DxO’s Agfa Scala 200x analog film simulation and selenium/gold split toning to emphasize the heat and light of my walk through those gritty streets.

Even the light indoors in the shopping centres and arcades both upmarket and down seared my eyes as it shafted through the skylights and windows into the gloomy lower floors below.

Agfa Scala 200x, intended for processing as a transparency film, was discontinued in 2010 and the closest extant film is reportedly Adox Silvermax.

The Guerrilla G-Cup for Panasonic GH5

I was glad of the way Guerrilla’s G-Cup for the GH5 shielded the edges of my eyes in those searing shafts of light so I could peer more effectively into the darkness.

More importantly, the G-Cup did exactly what Guerilla’s product page text promised it would:

The G-Cup is a replacement eyecup designed to fit the electronic viewfinder of the Panasonic GH5. It enhances the clarity, comfort, and stability of your camera by securely attaching to the EVF to block out light and provide a comfortable cushion for firm pressure and improved handheld stability.

Custom-designed and optimized for each camera, the G-Cup adds very little weight, and it perfectly compliments the camera’s shape and balance. It enables run-and-gun shooting with your camera stripped-down, right out of the box.

Panasonic Lumix GH5 with Guerrilla G-Cup for GH5 and Peak Design Clutch hand strap.

That run-and-gun shooting experience is important to me with the GH5 and its DSLR-style form factor that is so different from the types of cameras I usually prefer for stills photography, rangefinder and rangefinder-style cameras like Panasonic’s GX8 and Fujifilm’s X-Pro2.

I am right at home with those two cameras for the urban documentary approach I applied to my walk around Chatswood on New Year’s Eve, 2017.

The G-Cup made the GH5 look and feel like something very different, a marksman’s sight for peering distantly at the target and that feeling was underscored by my choice of lens, the Panasonic Lumix G 25mm f/1.7 Aspheric.

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.

I received the 25mm f/1.7 with my Panasonic Lumix GX8 during an end-of-year promotion and it is currently one of my fastest Micro Four Thirds lenses.

Its 25mm focal length is not one I would have chosen to buy as I tend to shoot documentary stills with wider or longer focal lengths – in M43 they are 14mm, 17mm, 20mm and 42.5mm and in 35mm format they are 28mm, 35mm, 40mm and 85mm.

For documentary video as well as stills, I am very tempted by the Olympus M.Zuiko Pro f/1.2 prime lenses range and its 17mm, 25mm and 45mm focal lengths with their manual clutch focus capability, crucial for accurate and repeatable manual focussing and focus pulling.

Panasonic Lumix G 25mm f/1.7 Aspheric prime lens, one of Panasonic’s f/1.7 prime lens series, all affordable and light, and with a fast enough maximum aperture for most situations. Manual focussing is damped focus-by-wire rather than manual clutch focus as with the Olympus M.Zuiko Pro lenses, so I prefer the latter for repeatable and accurate focus control but Panasonic’s f/1.7 lens series is great for tight, fast situations.

Panasonic’s fast little Lumix G f/1.7 primes are a different proposition, better suited to autofocus and one carrying on M43’s initial promise of smaller, lighter, more affordable cameras and lenses as well as more discretion when shooting in public.

For that they are well-matched with Panasonic’s GX8, a camera that is the height of discretion due to its unique tilting electronic viewfinder, which I hope will soon be updated as the GX9.

I have tried using the fully-articulated monitor on Lumix cameras in lieu of the GX8 tilting EVF’s waist level finder effect, but success is dependent on being able to shield the monitor from the sun or in having a main subject lit brightly enough.

SmallRig LCD Screen Protector Sunhood 1972 on Panasonic Lumix GH5.

I recently bought SmallRig’s LCD Screen Protector to try when shooing video in challenging light and needing to have the camera low rather than eye level on a tripod or gimbal, though it may be unwieldy for run-and-gun stills and video.

I will be in the Sydney city CBD later this week to shoot some much-needed Hybrid Log-Gamma (HLG) High Dynamic Range (HDR) and All-Intra 400 Mbps 10-bit 4:2:2  video footage so I can explore these promising new developments that arrived with version 2.0 of the GH5’s firmware.

Links

ADOX

DxO

Guerrilla – G-Cup (Panasonic GH5)

SmallRig

Untitled: Stories of Creativity, Innovation, Success – Guerrilla G-Cup for Panasonic Lumix GH5 Released, Arrives for Tryout and Review

Help support ‘Untitled’

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

COSYSPEED CAMSLINGER Streetomatic Plus Camera Bag – B&H

Fujifilm X-Pro2 Mirrorless Digital Camera – B&H

lens

grip

Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO Lens – B&H

Olympus M.Zuiko Digital ED 17mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 25mm f/1.2 PRO Lens – B&H

Olympus M.Zuiko Digital ED 45mm f/1.2 PRO Lens – B&H

Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera (Body Only) – B&H

Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H

Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital Camera – B&H

Panasonic DMW-BGGH5 Battery Grip – B&H

Panasonic Lumix G 25mm f/1.7 ASPH. Lens – B&H

Think Tank Photo Spectral 8 Camera Shoulder Bag (Black) – B&H

Think Tank Photo Stuff It! Belt Pouch (Black) – B&H

Taking a Panasonic Lumix GH5 Equipped with a Guerrilla G-Cup for GH5 on a Brisk Walk Through Chatswood When a documentary video or photography project about people involved in creativity and innovation is not in the offing, what else is there to do other than picking up the latest review loaner, placing another review loaner upon it then jumping on a train to head off for the closest reasonably busy suburban shopping destination the afternoon of New Year's Eve 2017? 

[karingottschalk]

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