In an industry that provides me with my very favorite of hobbies, the idea of perceived perfection in performance is often the benchmark. To this end, I too am guilty in that I often look for and test to make sure I have the best optics for whichever sensor I happen to have invested in. Often times, when we as photographers focus on measurable optical metrics, we can lose sight of the artistic, creative outlet that visual art such as photography can provide us. As the old adage goes as far as skill and creativity are concerned, sharpness is overrated.
I like to explore photography from a very large spectrum of angles, and find I enjoy myself most when I change my vantage from time to time. I don’t feel photography is one thing, and certainly feel for me that if it only provided me with one type of result, I’d not be nearly as happy. I like variety, I like difference, I like weird. For those who’ve been around for a while, you’ll probably remember articles I’ve written about Lensbaby products, and how the company resides just down the road from me. Back when this was a fledgling little blog, they offered me many opportunities to beta test new optics, and provide fodder for those looking for adaptable optics for their (at the time, young, new) mirrorless system cameras.
Say hello to the Lensbaby Trio 28mm f/3.5 lens. Three unique Lensbaby optics, built into a single lens for mirrorless systems, and I’ve been loving it. C’mon in for some examples and comparisons…
Ultra wide angle options for every system, tend to be expensive and/or compromised. It can be difficult to optically correct and transfer light onto these digital sensors which are far less forgiving than film ever was, especially outside of the center frame. Add to that, with various “crop” formats, the physical focal length needed to achieve these angles of view has to be remarkably short which provides other engineering challenges. Panasonic saw the need for an ultra wide angle zoom lens from the very early stages of the Micro 4/3 format, and has offered a very solid 7-14mm f/4 lens for years, but many system shooters wanted both a faster option, along with one that was environmentally sealed for outdoor work. Olympus answered that call with the m.Zuiko 7-14mm f/2.8 PRO lens. A substantial, weather sealed, tank like 14-28mm f/2.8 equivalent lens (in light gathering you FF fanatic naysayers, you) that costs a pretty penny, especially considering the Panasonic Lumix option at close to half the price, it’s not necessarily one for the budget minded shooter. It is however, a pretty damn stellar performer. I have had this lens for the better part of the year, and I’ve just returned from a trip to Portugal and Holland where I used this lens on the GX8 for my travel documentation needs. I have some other shots sprinkled in, but I want to give a bit of perspective when using this lens as a travel companion. C’mon in for some shots and thoughts…
Well hi there! Been a while. Yes, I’ve been focused largely on launching the Nauti Straps stuff (utterly shameless plug, of which it will not be the last, surely) which has been going smashingly thus far, so thank you to everyone who’s supported me in that venture. That said and done, I’ve been long wanting to compare these two premier portrait focal length prime lenses for the two formats I shoot in concert in the Sony FE and micro 4/3 systems.
Enter the Zeiss Batis 85mm f/1.8 Sonnar FE mount lens for Sony E mount cameras, and the Panasonic Leica 42.5mm f/1.2 DG Nocticron lens for micro 4/3 system shooters.
C’mon in for comparisons, pixel peeping galore and my thoughts as someone who has been shooting these two lenses for the better part of the last year.
I had never, ever noticed any issue with shutter shock personally. This goes for my experience with the GX8, the OMD EM5 years back that many claimed to have had issues, and any other camera I’ve owned and shot with. This isn’t to say that my cameras didn’t suffer from this issue, I’m just saying that I’ve never noticed it. That may be that I’ve not been a huge pixel peeper (except when doing these types of tests for these articles) or perhaps I’ve just been easily able to excuse any softness for whatever reason.
That said, I have received a few emails over the last couple months asking specifically about the shutter shock issue with the GX8 and so I thought it might be handy to run a test to satisfy my own curiosity, and better equip myself when attempting to answer these types of inquiries. C’mon in to see the results…
I am mere hours of work away from posting my GX7 vs GX8 final comparison, but going through images from my work trip last week, I came across a snapshot I took while rushing to catch the tram. The sun rise was begging to be recorded, and I quickly pulled my GX8 (on sale for $200 off right now DOH! see it at B&H HERE and Adorama HERE) with the PL15mm out of the bag and literally stopped walking for a second to take this shot. The sky dominated the exposure, as it should have in this case, and just now I tried bringing up the shadows to see what I could get as I’d not really pushed any of the GX8 frames quite this far, in this way. Well, color me frigging impressed… have a look:
This little gem is on sale for $70 off right now. I’m not normally a sale pumper unless it is for stuff I use, I like and I would recommend. If you’ve been on the fence, or waiting for this lens to drop a little, here’s a great opportunity to save a good amount of money on a great little lens.
Find the Panasonic Leica DG Summilux 15mm f/1.7 Aspherical lens on sale at Adorama HERE and B&H HERE.
If you’d like to see my review on the Leica 15mm, you can read that HERE.
Or, if you’d also like to read the head to head (to head) between the Leica 15, and the two Lumix Pancakes (14mm and 20mm) I did a comparison article HERE.
It is a great mate to any of the micro 4/3 cameras, especially the GM bodies, and is compact and lightweight enough to go largely unnoticed in the bag. I’ve been shooting the 15mm on the new GX8 with its 20mp sensor providing great results for me.
The Kipon EF Lens to Micro 4/3 mount smart adapter is a fairly big deal. Not just because it enables aperture adjustment for the electronically controlled EF line of lenses when adapted to a micro 4/3 camera body, but it has also bridged the proprietary technology to gain the use of full auto focus and lens based image stabilization capabilities. Having followed a fairly similar path into the micro 4/3 world as I would imagine many others, I came from a long standing investment in the Canon system. I still shoot my Canon full framers, and have compiled some very nice glass over the years that tends to sit on the shelf more often now that I shoot the micro 4/3 system. I’ve been waiting for a solution to merge my two beloved systems, and Kipon has produced it.
Enter the new, Kipon EF>m4/3 Smart Adapter. Come on in for some insight and my experience over the last month…