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…
Well, my friends, I have been enjoying the comparison between these two great cameras, and in this article I would like to present my opinions and findings regarding how they directly compare to each other in regards to performance and file output, once and for all (for my purposes, anyway). Here’s my disclaimer… I don’t work for Panasonic. I’ve always researched and purchased my own gear, and do these tests in an attempt to help others like myself see what I wish that I could have seen in cases before buying stuff. Enjoy and I hope this shows you something you’ve not yet seen.
I’ve been looking at the comparison from the angle of one who is curious about replacing my historically favorite micro 4/3 camera in the GX7, with it’s intended upgrade in the GX8. I’ve now had the GX8 for a couple months and have shot a few thousand images with it, so I have been able to get a good feel for how it handles, performs and how the files look when digging into them. With the GX8, Panasonic has given us an increase in size, resolution and features, which have all looked good on paper, and I’m now wanting to really see that come through in practice, which in most cases, it has.
Here is what I’ve seen, and what I’ve found…
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:
Panasonic has done well to progress the hybrid market bringing industry leading video features to remarkably affordable price points over the years. The GH line has always pushed into new territory with budget oriented motion shooters compared to all else available on the market. Along with cutting edge video features, they’ve also done well to provide competent still shooting devices incorporated into these wonderful, little mirrorless cameras. The GF and GX lines have historically incorporated a more still shooter driven skill set in a smaller, rangefinder style body while adding admirable video features as well.
There’s been no hiding my love for the GX7 over the past few years. In my mind, it has been the best balance of quality, size, feature and price yet available in the mirrorless landscape, playing to all of the benefits of a smaller format, mirrorless construction and very high end lens availability through the system partnership with Olympus, and third party collaboration and support from companies like Leica, Sigma, Voigtländer and many others.
With the GX8, Panasonic has brought us a newer, more beefed up version with the m4/3 system’s first 20mp sensor, dual IS feature and various 4K video and still modes in a camera that, while a bit bigger, can still fit into a large pocket with the right lens. A great machine, but is it truly a step forward in all ways? Having been shooting this camera extensively for the last month and a half, I feel comfortable giving my opinions and comparisons between the GX8 and it’s predecessor. C’mon in…
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…
Stabilization. A term that, before a handful of years ago meant “tripod,” or physical bracing technique, has grown to provide various hardware solutions within our camera system of choice. We as consumers have been lucky to have stabilization options within most all digital camera systems, and while image stabilization isn’t going to remedy all problems, it is certainly a nice feature to have.
I’m awaiting a new Panasonic GX8 to arrive within the next couple weeks which will boast a new, dual IS system incorporating both an on sensor IS and lens based IS solution, but before that time, I wanted to really see how the first full frame, 5 axis on sensor/in body image stabilization (IBIS) system from Sony compares to a very good lens based image stabilization (IS) system in the Canon EF lenses, and a better than often credited 2 axis IBIS system from Panasonic’s first foray into on sensor stabilization, in the GX7.
Come on in to see my three different comparisons between these three different offerings, and see if there is a clear winner.
Few systems can boast multiple, high quality portrait prime lenses. Here I’m looking at three, very good lenses all in their own, respective rights. Each, have their upside and for a given shooter, a very justifiable argument in favor of, over the others.
While there are two more proprietary portrait prime, focal length lenses with a micro 4/3 badge printed on them (the Leica 45mm f/2.8 macro and the new Lumix 42.5mm f/1.7) I have been able to justify buying all three of these for one reason or another over the last few years. I must cull my quiver to make room (and provide budget) for new, fun things to review, so I need to decide which I’m going to hold onto.
C’mon in for some shots, and my thoughts…