^ Impressions so far...?
I went to test the 12-35/2,8 in a store in Oslo a few weeks back, and decided it was too expensive for me. I was surprised about how small it was, especially for an f2,8 zoom...
I have never tried the Panasonic 100-300, but I didn't know that it was slow focusing. I did try the Olympus 75-300, and I found that to be very fast...Most of the time I liked it a lot better than the 100-300, as it focuses much faster and is much lighter, two things I wish I had when I was shooting the air show last month. I did observe the zoom creep issue a few times though; too often I'd get focus and the tiniest of movements from me would throw it out of focus. I figure this is something I could fix with improved technique in a way that slow autofocus can't. Considering I usually use these super telephoto lenses in daylight, I'm fine with the Olympus.
Sodding hell that's some reach! I have enjoyed using 135mm lenses with manual focus in birding situations, but that is a whole new level you're at.That said, I went for an Ais Nikkor 300mm f2,8 ED IF with a Voigtl?nder F-mFT adapter, and a TC 14b 1,4 teleconverter.
Yes, there are quite a few times I have found my FDn 200/2,8 IF to be a little bit short, so i'd recon 300 (600mm eq.) should do the trick, but then I would also have the teleconverter, considering adding a 2,0x teleconverter later to get a silly 1200mm eq. Originally I was looking for an Ai/Ais Nikkor 400/3,5 ED IF, but I couldn't find any of those for a reasonable sum, also this was from Adorama, a reputable dealer, not a private person. Also hoping to get my HLD-6 back soon, I complained about it and turned it in to the service dept of store I purchased it at, as the rubber on the horisontal grip was starting to peel off. Now that's nice with bricks-and-mortar stores, you can just go down there and talk to someone, no annoying e-mails or phone calls, just a 15 minute walk down town...Sodding hell that's some reach! I have enjoyed using 135mm lenses with manual focus in birding situations, but that is a whole new level you're at.
I wouldn't bother much about the ZD 7-14/4, while it's an excellent lens, optically one of the very best UWA-lenses ever made, the AF will not be very good on mFT, and the Lumix 7-14/4 performs almost as well on mFT bodies. On a regular 4/3 body, it would be fantastic. The mZD 9-18 is also very good, and very small, actually about the same size as the 14-42 kit zoom. It's not as wide, and bright as the Lumix 7-14, but it's much cheaper, and it accepts filters.I might be in the market for a UWA zoom, at first I was contemplating getting the Samyang fisheye as a kind of wide angle by applying a shit ton of correction to the pictures, but I don't think that's going to look as nice as the real thing.
Full disclaimer, the widest lens I have right now on m4/3 is 14mm and I've never shot with anything wider than 25mm (35mm eq.).
I've looked at reviews for the 9-18mm m.ZD and the 7-14 panasonic lenses. I've also looked at the Oly 4/3 offers but the 4/3 7-14 is twice as expensive as the Panasonic's and the 4/3 9-18 is basically the same price as the m4/3, so they didn't really enter into the decision process ^^
As far as I can tell, the Panasonic is optically better, has constant aperture and is quite a bit wider. The Oly is a bit worse optically, a bit longer but quite a bit cheaper and is tiny.
As a novice UWA shooter, would you recommend getting the Oly (I'm leaning on its side from the start because of its size) or should I go full retard, go for the Pana and not look back?
I would use the Panasonic mostly on my GH1, due to its size, whereas the diminutive size of the Oly would encourage me to leave it in my computer bag with my E-PL2, which I have on me most of the time.
I actually think I convinced myself to get the Oly while writing the post. Did I miss anything?
http://www.43rumors.com/ft5-first-image-of-the-new-panasonic-gh3/16 Megapixel ?Wide dynamic range? CMOS Sensor.
- New Venus 7 engine
- electronic shutter
- ISO 100-12.800
- Fastest AF of any interchangeable lens system camera.
- Video Bitrate 50Mbps (72Mbps ALL-I)
- 60/50/30p/25p in MP4, MOV and AVCHD
- 3.5 Mic in
- built-in stereo mic
- Audio out
- Pc control
- Time Code
- 1740k OLED LVF, Touch Monitor OLED 610k.
- external battery grip
- Wifi with remote control through iOS and Android Applications
- external XLR accessory
- Focus Peaking
- Interval shooting and slow motion. Slow Movie extension (40%, 50%, 80%) Fast 160/ 200 / 300%
- Magnesium alloy body. Body is bigger than the Panasonic GH2.
- - - Updated - - -Since the introduction of the Lumix DMC-GH1 back in 2009, the GH-series' place in Panasonic's Lumix lineup has been clear; a flagship stills and video model designed for enthusiasts who demand a well-handling, responsive and customizable camera with all the latest technology the company has to offer. The goal was to show that a camera did not need to be the size of a DSLR to perform like one. The enthusiastic and largely unanticipated response to the GH2's movie capabilities by working videographers (Google 'GH2 video hack' to get an idea for how keenly its capabilities are being exploited) has meant that Panasonic must now also consider that its camera is being integrated into professional video rigs.
With the announcement of the Panasonic Lumix DMC-GH3, the quest to offer a smaller-than-a-DSLR alternative has shifted noticeably to one that seeks to maintain its appeal to video professionals and stills photographers for whom small size is easily trumped by accessible manual camera controls, expandability and durability. If that sounds like a description of a DSLR user, we suspect it does to Panasonic as well. The GH3 is the company's largest Micro Four Thirds camera yet, with dimensions that essentially match those of the APS-C Sony SLT-A65.
The GH3 gains a weather sealed (dust/splash proof) magnesium alloy body which now gives Panasonic a camera body to match their moisture- and dust-sealed G X Vario 12-35mm F2.8 ASPH lens and G X Vario 35-100mm F2.8 ASPH fast zooms. Additional highlights include 6 fps shooting (or 4fps with live view) and five customizable function buttons. While the camera's still image resolution remains at 16MP, the GH3 has a new Live MOS sensor, three-core Venus 7 FHD processing engine and a new low pass filter. Panasonic claims improvements in high ISO shadow detail, color reproduction and white balance over its predecessor. The GH3 also offers in-camera HDR and multiple exposure image modes, as well as Wi-Fi connectivity that Panasonic hopes to leverage with its own (as yet unreleased) remote triggering and image transfer apps for iOS and Android phones.
There are pro-focused additions to the GH3's video capabilities, with timecode-supported broadcast quality video that is capable of bit rates as high as 80Mbps. Video pros may want to re-read that last bit. Only the US $3500 Canon EOS 5D Mark III offers higher bit rates and Panasonic suggests its compression might offer better quality. The GH3 gains the ability to shoot in MOV (h.264) format, freeing it from the restrictive frame- and bit-rates laid out in the AVCHD standard. This means the camera can capture files natively as 30p, as well as 60i. There is also the choice of All-I or IPB compression (more of which later in the preview), which Panasonic is hoping will further endear it to videographers currently using GH2s.
The GH3's new EVF is a 1.7 million dot OLED panel with a 16:9 ratio of 873 x 500 pixels. Panasonic lists a robust 1.34x magnification (equivalent to 0.67x on a full frame SLR) ,and says that because information is transmitted to the panel 8x faster than the GH2, the onscreen image will remain smooth and natural even while panning quickly across a scene. The rear display panel is a 3" 614k dot resolution OLED unit that, like that of its predecessor, is touch-sensitive. For both stills and video shooters looking to extend the camera's abilities, the GH3 offers a 3.5mm mic input (GH2 users had to resort to a 2.5 - 3.5mm adapter), headphone jack, PC sync socket and a new optional battery grip that attaches to base plate providing the option for additional power.
Panasonic Lumix DMC-GH3 key features
16MP Live MOS sensor with three-core Venus 7 FHD engine
Magnesium alloy body with weather sealing (dust and splash proof)
1.7 million dot 16:9 ratio OLED viewfinder
ISO 200-12800 (extended range of ISO 125-25600)
6 fps continuous shooting
AF speed of .07 seconds
614k dot 3" OLED rear screen
Full HD 60p/50p video with 30p/25p option
MOV (h.264), MP4 and AVCHD formats
Video bit rates of 50Mbps in IPB and 72-80Mbps in All-I compression modes
Timecode support in MOV(H.264) and AVCHD formats
3.5mm mic socket and headphone socket
Four channel wireless control for the optional DMW-FL360L external flash
iOS and Android app control via Wi-Fi
Key differences from the DMC-GH2
Improved sensor and latest Venus image processor
Weather sealed magnesium alloy body
OLED EVF and rear display (versus LCD)
60p video capture (versus 60i /30p)
80Mbps bit rate maximum (versus 24Mbps)
3.5mm mic socket (rather than 2.5mm)
6 fps continuous shooting (versus 5)
Five custom Fn buttons (versus three) and a second control dial
Compatible with new DMW-BGGH3 battery grip
PC socket for external flash
HDR and multiple exposure modes
Compared to the Panasonic Lumix DMC-GH2
With the GH2 having gained such a strong following among enthusiasts and videographers, Panasonic has clearly prioritized external controls and accessory compatibility. As such, the GH3 is a noticeably more bulky camera than its predecessor, comparable in size to the Sony SLT-A57. As you'll see in the image below, control points have been redesigned and much of the camera's layout has been re-adjusted for the larger body.
M.ZUIKO DIGITAL ED 60mm 1:2.8 Macro lens
In terms of sheer image quality, this handsome lens gives PEN, and in particular O-MD owners, the potential to capture images on a par with high end Four Thirds cameras using a ZUIKO DIGITAL ED 50mm 1:2.0 macro lens ? but with significantly less outlay. With its dust and splash-proof housing and excellent macro credentials, its natural habitat is just that: the natural world outside. At 19cm and 1:1 magnification, close-ups of animal and plants come to life in spectacular fashion, with high resolution and contrast edge-to-edge. And in bright light, its multi-layer ZERO (ZUIKO Extra-low Reflection Optical) lens coating halves the effects of ghosting and flaring compared to similar conventional coatings.