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danielm last won the day on 29 August

danielm had the most liked content!

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15 of my posts have been liked

About danielm

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  • Birthday 27/01/1957

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  • Real Name
    Daniel Marchand
  • Gender
  • Location
    Montreal, Canada
  • Interests
    For sure photography but also I am curious by definition
  • Edit my pics?
    Ask Me
  • Fav. Camera
    MFT Compact System
  • Fav. Lens
    12-60, 20, 45-150, 42,5
  • Fav. Editor
    Photo (Apple), previously Aperture
  1. I must confess that I was not thrill at all with the advanced announcement of the Nikon and Canon mirrorless 35mm digital cameras-lenses systems. I had a strong concern about the will of these manufacturers to offer real compact mirrorless system. And I was not the only one with that fear of incomprehension from them to the very basis concept regarding mirrorless design. Now that we are looking at Nikon and Canon answers to an anticipated decline of their customer bases it is not surprising that they simply import the D-SLR bias into theirs new model proposals. Big, somewhat already outdated and by far expensive photo devices couple with with very traditional bazooka lenses. Is this innovation? Certainly not. Is this photo equipment interesting alternative for passionate photographers who like now to travel and shoot lightly and be less intimidating for their subjects? For sure not! So it is a profound disappointment for many of us who like photography as a visual expression of the everyday life. And so I must salute the courage of those other manufacturers who seem to be maintain the stand of compactness of mirrorless system like Olympus, Panasonic and Fujifilm. For Nikon and Canon all hopes seem to vanish in their D-SLR profit reassignment...
  2. Regarding the future of MFT I agree with both of your points of view, Dallas and Luc, compactness and softer price level may preserve and extend their market.
  3. From a technical point of view I think it can be manageable in the near future ( 3-5 years may be) but on the commercial front the question will be for the manufacturers: is there a sufficient market to sustain that effort? And the price point level is the other key required for success in that matter...
  4. danielm

    40-150mm f/2.8 PRO M.Zuiko

    "Mine is smaller than yours!" You will rarely say this as an advantage especially from the macho male photographer point of view. But in the case of the Olympus M. Zuiko 40-150mm F2.8 PRO the story can be true considering the extended versatility and the reduce size of this model compare to the DSLR counterparts. Furthermore the same statement can be proclaimed for all the M4/3 format equipment. For sure there is still a strong resistance to the introduction of the M4/3 format from the so-call professional intelligentsia (?). The picture quality argument has been served ad nauseam to reject the compact option. But time is passing by and moreover people are changing. The new state regarding photography and its popularity is intimacy related to its fast and versatile connection ability. Big DSLR dont seem to follow that path so extinction is not far away for them (Shame on me!!!). The Olympus 40-150mm F2.8 PRO stays a massive lens by M4/3 compact standards. But it replace two DSLR Pro lenses, the traditional 70-200mm and 300mm both with maximum aperture of F2.8. So the trade-off is still at the advantage of the Olympus Pro telephoto zoom lens model. It prevent also the necessity of changing lenses or to operate two different cameras. Using big telephoto zoom lenses increase the unbalance tendency between the optic and the camera. That fact can be critical if you need a correct handling especially if you are panning the action not only for the effect but simply to follow the subject. Fatigue can be a highly distractive factor that will affect your ability and motivation to produce pictures. You can enhance your handling by adding an additional grip or vertical power grip on the camera. If you adopt a more static position a fix support like a monopod or a tripod will be a great help for stabilisation and a more careful picture cropping. In fact the nature of your subject will characterize your working methodology. With such a Pro lens model with a larger maximum aperture of F2.8 the photograph will select most of the time a fairly large opening between F2.8 and 5.6. Those aperture opening will narrowed the deep-of-field and privilege the main subject. Focus can be critical at that point and autofocus or prefocus have to be set carefully. Your picture waste will also increase accordingly. That is part of the experiment. If you are a more stereotype photograph like the photojournalists you may prefer to work with DSLR equipment. I am always impressed to see those boxes full of photojournalists with identical equipment in major sports events. They only reproduce the same picture without any search of originality. This is another specie of photographs in danger of obsolescence. As a Pro lens the Olympus 40-150mm F2.8 is getting a superior quality of construction. The zoom and focusing rings are larger and will turn nicely with a simulated friction similar to old-fashioned lenses. The click-on manual option available on the focus ring is a very secure and fast way of selecting between auto or manual possibilities. By selecting the manual focusing only position you over rule the autofocus fonction and get a better focusing ring resistance similar to the previous manual focusing lenses. It replicate what is already present to the Olympus 12-40mm F2.8 Pro lens which is often the companion optic chosen by many. As for all the Olympus other M4/3lenses, no aperture ring are offer on that model assuming that it will done by one of the dials of the camera. The monumental push-pull lens hood is included with the Olympus 40-150mm F2.8 Pro. Operating the mechanism may require some study and practices from your part. I have worked freely with or without the lens hood (if it was possible to do so without compromising my picture quality). The Olympus 40-150mm F2.8 Pro is also doted of an already tripod/monopod accessory mount that can be rotate for horizontal or vertical shooting. The making of this piece appears to be very well designed and constructed. My suggestion is to kept it permanently on the lens and simply rotate it aside when you are handholding it alone. The Olympus 40-150mm F2.8 Pro lens got the weather protection which qualify the optic for an extended use in most adverse conditions. It allows you also to fully clean the lens. Contrary of the usual mystic regarding the use of those big Pro lenses these optics are not fast handling device. They will require from the photograph an effort in preparation and during their specific manipulation. Shooting at will may expose you to some disappointment in view of the final results. With try and experience you will mastermind the care and the limit of these pro telephoto lenses such as the Olympus 40-150mm F2.8 Pro. In-board camera stabilization may partially help you but the fundamentals stay the same such as selecting a higher shutter speed and panning your subject. If possible an external support such as a monopod or a tripod can help you a lot (and prevent fatigue!). The Olympus 40-150mm F2.8 Pro can be a very fine portrait lens and many beautiful examples presented over the Web illustrate that fact. It can be also an interesting "abstraction" lens that allows many defocusing experimentations. Working with relatives short distances (for this type of lenses) will narrow the deep-of-field for bokey effect. Sport and nature photography appear to be the most spontaneous themes of preference for what the Olympus 40-150mm F2.8 Pro has been first designed et manufactured. And many users have already demonstrate the rightful of this perception. As I have already said at the beginning of this post, this telephoto zoom pro lens is in fact more versatile into a smaller package. In many ways it respond to the standards imposed in almost any photojournalistic situations. But it is not part of the Canon-Nikon 24X36mm sensor format media cartel as an Olympus M4/3 product. In my sense it a shame but it proves the stalemate of evolution of many so-call themselves "professional photographers"and extinction is not far ahead. Finally here is a short note regarding the high selling prices of many of those "pro" lenses. Usually these professional intended optics are produced in smaller quantity with higher cost material and for a limited distribution. Therefore their price tags are positioned at a selling point difficult to reach for many of us (including obviously myself!). But if you consider the added durability of these models and their constant value over time, you will often discover that they simply follow the inflation rate over the years and the decades. It is up to you to invest yourself in that kind of heavy expense. The Olympus M. Zuiko 40-150mm F2.8 Pro lens is a very fine, constant, versatile, workhorse optic that is reliable into various conditions of uses. It is part of the traditional duo along with the Olympus M. Zuiko 12-40mm F2.8 Pro and also with the T(h)ree family if combined with the Olympus 7-14mm Pro. All these pro lenses will form a very competent equipment when teamed with OM-D bodies like the E-M1 and E-M5 or even the E-M10 (Original or Mark II versions of any of those models). A complete Pro system Olympus is very serious about its Pro line of lenses involvement and offer a complete line-up of fine, fast and sturdy optics with the M. Zuiko 7-14mm F2.8, 12-40mm F2.8, 12-100mm F4.0 IS, 40-150mm f2.8, Fisheye 8mm F1.8, 25mm F1.2 and 300mm F4.0 IS. Combined with the OM-D E-M1 (original or Mark II), an independent professional photographer will find a very competent and compact eco-system that will sustain most of its need.
  5. danielm

    25mm f/1.8 M.Zuiko

    The Holy Classical Lens: The Olympus M. Zuiko 25mm F1.8 During the so-call 35mm film era we use to call it the "normal" lens. The one optic that came almost the facto with any camera model ... and the most economical one too! If you are looking through it (via you viewfinder) it respect roughly our eye sight for the proportion of the subject. So it was and still is a very previsible lens. Parts of the Olympus fine lens line-up there are two versions of this normal lens: the M. Zuiko 25mm F1.8 and the Pro 25mm F1.2 the latter has been introduced lately. Their angle of view are similar (47 degrees for the F1.8 version) but the big differences are mainly their specific construction and their respective maximum aperture available. If you are planning to use your 25mm very extendedly in adverse external condition or for many studio mandates it can be wise to privilege the F1.2 Pro version. But for a more casual use the basic F1.8 will do the job without any losing quality expense. This is the version that I will briefly review. Legendary Belgian World Champion Eddy Merckx at the finish line of the 1974 Montreal World Cycling Championships. This shot was done only with anticipation and has succeeded ! ( Photo Daniel Marchand) A "normal" lens on sports assignment !!! Typical 1974 Photo Press Release of the photo finish lane ( Picture source from Cycling Week Web site ) Memories: Some years ago (let say few decades) my first 35mm SLR camera (a modest Argus Cosina STL1000) was coupled with the economical standard Cosinon 50mm F1.7 lens, a package available for 249 $CAN which was a lot of money from a yesterday point of view. And I remember "covering" the World Cycling Championship in Montreal in 1974 with a few black & white rolls of film and this minimal combination of camera and lens. The results of that improvised assignment had just convinced me to poursuit my photographic dream of a career which finally happened about ten years after. And that story along many others is proving the great versatility of a so-call normal focal fixed lens such as the 25mm in M4/3 format. Other photo extracts of that day of the 1974 Montreal World Cycling Championship. ( Photos Daniel Marchand) (Let's return to our regular program...) Physically the Olympus M.Zuiko 25mm F1.8 is a small package considering its relatively large maximum aperture. This compact design will match nicely the camera dimensions of most M4/3 format models. A large focus ring is surrounding the 25mm which is a strong permanent tentation to select manually by yourself your focus point. It is really a creative prime lens, an academic optic as should add the traditional photographic teachers. A polymer made lens hood is part of the accessories included with the lens. It is a nice addition offer with a none too much perturbing size. And it is bayonet mounted and very easy to put in or pull out. With an angle of view of 47 degrees the Olympus 25mm F1.8 is a very confortable optic to work with. All perspective aspects of the image respect your own view of the subject. By moving yourself you can control the cropping of your picture without surprise. So it is really a pro-active tool in that sens. No subject is out of the reach of the Olympus 25mm although it can ask to reframe in some cases when you finally edit your picture for diffusion. Very close focus subjects can be photograph with this "normal" lens. As for subjects with minimal deep of field study. And you can do portrait assuming that there is always the possibility to crop afterward the picture. The Olympus M. 25mm F1.8 is a fine lens. The quality output of its picture results is high for its modest price compare to "pro" counterpart such as the Olympus Pro M.Zuiko 25mm f1.2 optic. Most of the time I have selected the largest apertures available ranging from F1.8 to F5.6 without suffering any lost of definition. Moreover I suspect that the lens has been primarily designed to be used within that range of apertures. Focus final selection can be easily performed by configuring the camera with the option allowing the combination of auto-manual focusing. The more you will explore your subject with it the more you will learn to appreciate its abilities. Is the 25mm lens can be assimilated as a "one and only" lens to bring option? May be depending what type of photographer you are. For sure for contextual street photography into urban area its angle of view can be perceive a bit too much narrowed compare with the Olympus 17mm f1.8 for example. But remember that guys like Henri Cartier-Bresson have done very fine and emblematic pictures with that angle of view (translated by the 50mm focal length in 24X36mm film format). Finally if your are more oriented "zoomer" photographer by choice or by necessity, the Olympus 25mm F1.8 is a nice back-up lens for on-the-spot replacement and its useful maximum aperture in low light conditions or even for its smaller less intrusive size and it can be slip in your pocket. Yes the Olympus M.Zuiko 25mm F1.8 is another affordable gem part of the nice Olympus M.Zuiko line-up.
  6. danielm

    60mm f/2.8 ED Macro M.Zuiko

    The Olympus M.Zuiko ED 60mm F2.8 Macro: Doing more than macro in M4/3 format. It may be the most curious looking lens of the entire Olympus optical line up for M4/3 format camera. Strange may be also another epitheth to describe it. Its physical aspect with its non-obvious function dials are giving to the Olympus M.Zuiko ED 60mm F2.8 Macro lens a more confidential reputation based for a good part to its specialized first task intended i.e. macrophotography. Close focusing photography has been always of a great interest for me as for many of us. Subjects in that field are infinite with various points of view. On a purely documentary side doing macro photography was at first on the scientific priority but very early on following the first spreading of the new medium we have seen beautiful artistic black and white and later on colourful macrophotographic pictures. We may qualify them as the prelude of abstract photography. Although many fine lenses designed for more general purpose can produce very fine close focusing pictures camera and lens manufacturers had soon beging to offer specific macro lenses calculated mostly to cope the flat field exigence of reproduction purpose. That trend has been observed throughout the technical evolution of the photographic equipment. Today macro lenses are current part of many photo arsenal of photographers around the world. Into the M4/3 format lenses you can rely on different models part of the Olympus and Panasonic line-up. All of them are exceptional contenders of their own. Normal focal ones such as the 30mm length are more suited to be versatile as macro and everyday lenses. Long focal counterparts such as 45mm and 60mm may represent a more powerful alternative for doing very small and near object or better tool for studio and reproduction works. The Olympus M.Zuiko ED 60mm F2.8 Macro represent a very interesting lens with close focusing ability at first and unprecedented characteristics such as its longer focal length and its all-weather construction. With an angle of view of 20 degrees it surpass many short telephoto for portrait work. Even with a maximum aperture of F2.8 it can be use for action photography in normal daylight condition. Of course close focusing can be its primary advantage combined by the fact that its longer focal length prevent most of its potential obstruction of light on the close subject. Maybe the most spectacular part of the Olympus 60mm Macro is its oddly aspect if you compare it with others lens designs. But in the past many macro lenses had and still have that kind of visual aspect. I have to concede that it is not the most discrete optic I have ever used. As for most telephoto macro lenses the Olympus M.Zuiko ED 60mm F2.8 Macro is a very creative tool and versatile because of its close focusing ability. If you accept the fix focal length factor you will find many ways to produce very original pictures that emphasize your main subject. As usual telephoto lenses can be also very competent for doing landscape or urbanscape photography with their dramatizing compression of many subjects in one frame. The Olympus M.Zuiko 60mm F2.8 Macro lens is a small optic which is part a the traditional M4/3 format line of prime lenses. With a focal length of 60mm it is magnification factor of 2.4X compare to a standard lens (25mm) with an angle of view of 20 degrees which is qualified the optic for portrait or for small telephoto work. At 185g it is also a very light package easy to bring with you as an extra lens but you have to pay more attention to your stability in use since it is not possible to count on its own weight inertia (like bigger telephoto counterparts), In that case the camera stabilisation option is a welcome feature. Manual focusing can be performed nicely through its large and very smooth focusing ring. Using the 60mm with the OM-D E-M5 II and its EVF (Electronic ViewFinder) is easy and the image is clear and accurate in most photographic situations. Focusing speed is surprisely responsive for this type of (macro) optic and it qualify the 60mm Macro lens for all other subjects associated with the use of a medium telephoto. And yes the use of the limiter dial can save you time (and picture opportunities!) if it is applied in the good working context. The reproduction ratio scale is an amusing gadget also. Typical third-party screw-in (46mm) metal lens hood for telephoto. (Always check for trace of vignetting) There is always that annoying discussion about the utility of using a lens hood with the 60mm since Olympus does not provide one with the lens (which is also very annoying...) My answer is simple: if you can afford to buy and bring one dont prevent yourself to do so. I have found the Olympus official lens hood to be a clever design (like the one that came right from the box for the Olympus M.Zuiko 40-150mm F.2.8 Pro model !) but you may consider some third party options less pricy and less bulky available through the Web. Essentially lens hoods are preventing some lens internal reflections (flare) especially when you are pointing in direction of punctual light sources. The Olympus M.Zuiko ED 60mm F2.8 Macro is a very fine lens as it is intended to be. We are reaching pro level image results. Picture are crisp and rightly detailed. Colours are accurate and follow the Olympus expected bias without any adaptation compare to the other lenses of the Olympus line up. Out of focus areas are pleasant even considering the moderate maximum aperture of the lens. The macro ability of this 60mm is flawless and enhanced by the longer focal length that reduce the risk of interfering with the subject light. In bref it is fair to consider the Olympus M.Zuiko ED 60mm F2.8 Macro lens as an all-around medium telephoto optic with very handy macro possibilities but also nice other abilities such as for spontaneous photography, portrait or even action subject.
  7. Yes Luc I fully understand your (image richness) nostalgia. For some others it is also the better flexibility of the 35mm deep of field or the enhanced enlargement (or cropping) capability. Can a manufacturer able to design a compact 35mm digital camera model with interchangeable small lenses in the near future? If so you can bet that many of us will look at it very seriously.
  8. As Dallas has already mentioned the Lumix GM1 is a very small but competent package. I have used the GM5 for a nice trip in Greece about three years ago with good results and I have really appreciated its diminutive size. The tiny (and contrasty) viewfinder can be a good help if you are in a situation of strong back sunshine. For a better EVF your choice can migrate to the GX85(80) or the newest GX9.
  9. Hi Armando, For travelling I have always preferred to carry less intrusive rangefinder style cameras with pancake lenses. My best combo during the latest years has been a Panasonic Lumix GX85 with the diminutive G Vario 12-32mm OIS (completed with the G Vario 35-100mm F4-5.6 OIS in my pocket). But I am sure that any other camera model of the same nature can do perfectly the job. On a more funnier note "rangefinder" style cameras always appears to be very touristic photo devices!
  10. danielm

    27mm f/2.8 XF Fujinon

    Today a personal choice would be probably to pair the Fujinon 23mm f2 lens with a Fujifilm X-E3 (regardless of the price point). The add-on possibility to interchange between lenses is giving space for a more specialized optic like a small telephoto or a macro lens. But like I said it is purely a personal view.
  11. Yes I have a special memory for the Nikon D700 which was also my last (and only) attempt into FX format. It was so big and heavy (and very intimidating for spontaneous subjects) that I too got rid of all my Nikon Fx system (camera body and lenses). Since the introduction of the Nikon F5 model during 35mm film era I was becoming aware more and more of the increasing size evolution of the 35mm format. This is why I have chosen to go with MFT and APS-C image sensor photo devices. With time their image quality and effectiveness have evolute to reach a very satisfactory point. The problem here is more related with universal standardization. And big manufacturers such as Canon or Nikon never really accepted to fully dedicate themselves into smaller image sensor formats They are historically 35mm camera makers. Now they are pushing the mirrorless camera market in that direction and the others manufacturers have no choice to mimic the big guys.
  12. Hi Dallas, I was fully aware about the controversy that will generate this subject. Since I am too a fairly long user of the MFT and APS-C sensor formats I would have strongly preferred an extensive evolution of them. As mentioned and because of the price point level involved, I don't think conversion will be so fast (certainly not for myself). But I cannot prevent that standardization is in fact going on for the 35mm image sensor. This phenomena is not new and has been observed during the film era also. I think that most manufacturers have already understood the necessity to open their future digital 35mm line-up to more compact camera bodies and lenses. So on the commercial point of view the pressure to produce such smaller photo devices is already existing. A change of system is never an easy decision to take. We have seen that with the emergence of the digital photography.
  13. Source: Wikipedia Some recent announcements less spectacular may be more significant that we think, One of those is the forecasted new Panasonic GH camera that will be offered in 35mm sensor format. That future sight is not really pleasant for the APS-C and MFT perspectives on a long term. Actually only higher price point can prevent a strong (and fatal) migration to what it seems the new (!) digital sensor size standard of 24X36mm but already Nikon have clearly stated its intention to extend their camera line-up to less expensive models as it is also intended for their lenses. So in my view it is a turning point for the traditional photo industry. The manufacturers can produce now bigger image sensors like the 24X36mm ones with virtually unbeatable characteristics especially for low light sensibility and reduction in noise. Versatility is another important element in a sense that you need only one type of sensor to fulfill all different tasks. Adaptability is another factor but less revenant that many thinks in fact. In reality the development of mirrorless cameras is just beginning in that future new standard. Many advancement in terms of design and feature will appear during the next 5 or 10 years to go. Obviously development ressources will be allowed mainly in that direction. For APS-C and MFT sensor format we may now see the last efforts to raffine theirs products for players like Panasonic, Olympus or Fujifilm. With the introduction of 24X36mm mirrorless models from Nikon, Panasonic and Canon, Olympus is becoming the last player of smaller system size and we can understand that they will inevitably move in the upper direction if they want to survive and not be too marginalized, The APS-C and MFT format recent story was (and still is for a moment) an exciting time that many of us have participeted with enthusiasm and commitment but I can see now that we will one day or another adopt the (re)new 35mm standard.
  14. danielm

    60mm f/2.4R XF Macro

    The Fujinon XF 60mm F2.4: the twin personality lens ! Apparence The Fujinon XF 60mm F2.4 lens is part of the initial line-up of the Fujifilm X-Mount optics. Its firmware has been improved extendedly to meet the requirement of the newest camera additions from Fujifilm. The Fujinon XF 60mm F2.4 receive a very classic presentation that will recall for some of us the classical lenses from the 35mm film era. Aperture and focus controls are traditional (although they are in fact simulated mechanical adjustments). It is not a small and light lens but without optical image stabilization option (no OIS) its heaviness add some inertial weight that can help to prevent shakeness. Yes it is a "made in Japan" product. An imposant metallic and nicely crafted lens hood is included with the lens that can prevent some flare phenomena under certain light conditions. A double life The twin personality of the Fujinon XF 60mm F2.4 lens is relating about its portrait and macro vocations. In fact it more a small telephoto with a very near close focusing ability. So it gives you the possibility to take picture of your main subject at a very short distance and cutting down the deep of field a lot. Those qualities are rightly appreciated in portrait purpose. As a small telephoto lens my preferred aperture setting is to select the maximum opening (F2.4) as often it is possible. The Fujinon XF 60mm F2.4 had respond beautifully to that (ab)use of its largest aperture. Thus F2.4 appears to be modest but in reality it is easily comparable to the traditional Leica Elmarit 90mm F2.8 or the Nikkor AI-S 105mm F2.5 lenses of the time. Action photography can be a challenge as usual for that kind of lenses. Snap Sport Shooters will definitively have problems to get full proofed on-focus subject by simply snap and follow the subject mobility. Prefocus (Auto or Manuel) setting is highly recommended but I have discovered that the Fujinon XF 60mm F2.4 in normal lightning condition got its own ability with close distance action subjects. Panning your subject may be the more successful way of getting in-focus action subjects. Predictive manual focusing is another way of doing action photography with that lens but experimentation may be frustrating. Kiki Piccolo is our "impossible" subject for action photography. But through the small bars the XT-10 / XF 60mm manage to focus rightly and be able to freeze most the movement. No stabilization on this lens mean you will need to be careful about your own ability to hold your camera very steadily and following action by panning your subject. In low light or interior conditions that will be a challenge since we are now more and more relaying on stabilization options over lenses or cameras. Your rate of success will decrease as you will find in selecting your final choice of pictures during the editing session. For that point of view it is always better to review your results on the spot by using the camera rear screen. Accurate focusing is another challenge in particular with short distance subject. A small movement from the part of the subject or from your part will result in a visible out of focus of the interesting point of view. Fujifilm Classic Rendering With a macro lens of this type we are looking for higher quality results if not the best available. On the optical point of view the Fujinon XF 60mm F2.4 will deliver very fine and detailed images. Closing down a bit your aperture will optimize yours results corner to corner but you don't need to go too far to get that. Fujifilm color output is outstanding as usual. The last lens series that I have worked that was so distinctive was the Leica one during the eighties because I was mainly relying on slide films for colour projects. Fujinon X-Mount lenses will give you good colour and tonal separations. So editing your pictures will be more a fine tuning experience if your composition has been done carefully. Even if the Fujinon XF 60mm F2.4 lens is not really a snap shooter optic to say the least, it stays a wonderful selective tool if you are ready to invest the effort (and persistence) in your photography. And at the end you will obtain something different of your own originality. Ok Kiki it's finish!
  15. danielm

    25mm F1.7 ASPH Panasonic Lumix G

    Panasonic Lumix G 25mm F1.7 ASPH. There was a time when the "normal" taking lens that was de facto coupled on most cameras. Only its focal length could vary in harmony with the film format. Its visual field angle roughly corresponds to our area of sharpness when we observe a scene in the eye. From the outset I must admit that I am certainly not a big fan of so-called "normal" lenses. Imposed by tradition and economic reasons I have always experienced a number of frustrations related mainly to their narrowed visual field of view. However, I must admit that these lenses are also very versatile optical tools despite their fixed focal length. And in fact we can say that all normal lenses are probably the best way to approach traditional photography. They make school and require the photographer a creative effort in his shooting. A beautiful selectivity with short distance subject. The Panasonic Lumix G 25mm F1.7 ASPH is a bargain in every way. Its very low price makes it accessible for any user who wants to explore the world of fixed focal length lenses. Its maximum aperture of F1.7 is in the right average to allow some control of the area of sharpness of the subject via the phenomenon of depth of field. It is lightweight, discreet and its enlarged focus ring is convenient. Its dedicated sunshade is included with its purchase, a healthy commercial habit from Panasonic. With a 46mm filter-accessory diameter, further accessory investment for this everyday optics remains minimal. For whom this little "normal" of the Panasonic Lumix G is ranging for? At first, certainly to the enthusiasm's one of traditional photography. By excluding current aids trans-standard lenses such as the focal length variable or the integrated optical stabilization, the Panasonic Lumix G 25mm F1.7 ASPH. push the photographer to learn and master the major parameters of composition, exposure (sensor) and more selective focus (depth of field). In addition, its discretion due to its low volume makes the camera-lens combination less intimidating for the main subject of the image, especially if one chooses an off-center viewfinder style rangefinder. Moreover this 25mm F1.7 enjoys an extended flexibility on the choice of subjects, compositions, styles of photography as long as the user shows a minimum mobility. One of the features I really enjoyed about the Panasonic Lumix G 25mm F1.7 ASPH. is its great ease of involvement in all circumstances but more specifically in low light situation and for a subject at very short distance. The increased reactivity induced on the camera used is remarkable and may be the consequence of the combination of a fixed focal length and a greater maximum aperture of the lens compared to the usual trans-standard and telephoto zoom lenses. The quality of the resulting images of the Lumix G 25mm F1.7 ASPH. is in the good average for an MFT format. The maximum aperture of F1.7 is surely not a handicap and can be used freely for a better control of the sharpness zone of the main subject of the image. Panasonic offers the other Leica DG Summilux 25mm F1.4 ASPH model which has the marginal advantage of greater maximum aperture in a similar size-weight but with a price multiplied by three! The Panasonic Lumix G 25mm F1.7 ASPH. is a very discreet optic that s fine aesthetically and mechanically. It harmonizes well with the spirit of Panasonic's other MFT products which favors sobriety in efficiency. Given its reduced price and its versatility it can be an easy addition and appreciated in a photographic set.

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