Documentation of an Artist's Day - Yoshirou Shinkawa, Hill of Carnation Blog

 

Image Source: http://hillofcarnation.blogspot.com/2013/02/blog-post_3078.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+HillOfCarnation+%28Hill+of+Carnation%29

 

Yoshirou's blog, hillofcarnation.blogspot.com, is in Japanese language. Therefore, I can't tell you much about this entry. I can refer you to this post:

 

(Click Here) to experience a day in the life of an artist, presumably in Japan.

 

The picture above really catches my eye. It is beautifully done - the colors are understated and real. The focus is in exactly the right place, and the background blurred, so as not to draw too much attention, yet retaining enough detail to make it interesting. A great environmental portrait.

 

I love to photograph people who are into their art. Here's one such person, who I found painting at an outdoor music festival:

 

Artist, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 12-35 f2.8 Lens at 19mm

iso 400, f4, 1/500 sec

 

Artistic people are usually interesting.

 

DMC-365.blogspot.com

 

My Report on Floyd Fest Featured on Cosmic Vibes Live Music Blog

 
 

 

The Crane and the Kids, by Reed A. George

Panasonic Lumix DMC-G3, Lumx 12-35mm f2.8 at 12mm

iso 400, f5.6, 1/125 sec

 
I love music festivals. I recently attended Floyd Fest in Southern Virginia. I wrote up a report for the music blog Cosmic Vibes Live.
 
(Click Here) to see my report on Cosmic Vibes Live.
 
(Click Here) to see my picture gallery on Cosmic Vibes Live.
 
I really enjoy photographing and writing together. My music project has afforded the opportunity to work with the great guys at Cosmic Vibes Live. It's a no-stress affair, with both sides appreciating what the other brings. I look forward to doing more and better reports for them in the future.
 
This was my first (and last) outing with the Lumix 12-35mm f2.8. I think it did a nice job. I just prefer shooting with primes.
 
DMC-365.blogspot.com
 
 

Well, That Started A Conversation - Post On Returning My 12-35mm f2.8 Lens

 

Starting Early, by Reed A. George
Panasonic Lumix DMC-G3, Lumix 12-35mm f2.8 X Lens
iso400, f4, 1/200 sec
 
I posted on dpreview that I had decided to return my Lumix 12-35mm f2.8 zoom lens. Boy, did that get responses!
 
(Click Here) to see all of the responses on dpreview
 
The only one that got me thinking much was about the ethics of returning a lens. I find this one very interesting. Yes, it's true, I did know all of the specifications before buying, and there was nothing wrong with the lens itself. However, I certainly stayed within Amazon's generous policy of being able to return something, merely because it did not suit me. I was completely honest with Amazon that I had simply changed my mind, paid the shipping both ways, and got my money back. This is why Amazon is so great. They want me to be fully satisified. If I'm not, they're willing to refund my money. So, if they're happy and I'm happy, why should anyone else question it?
 
Anyway, as I said in all of my posts, the lens itself is just fine. It's just not for me.
 
DMC-365.blogspot.com
I can buy with confidence here: 
 

Some User Shots From Another Photographer Using the Lumix 12-35mm f2.8

 

User DHart on mu-43's Image From the Lumix 12-35mm f2.8

Image Source: http://www.mu-43.com/f38/pany-12-35-f-2-8-lots-first-evening-images-29091/

 
 
Forum poster DHart has shared some great images, made with the new Panasonic Lumix 12-35mm f2.8 lens. I'm not sure how they got their hands on the lens. As of the day of writing (July 7, 2012), I have not seen it in stock anywhere.
 
 
(Click Here) to see all of DHart's images in this post on mu-43.com.
 
This post was part of my decision to go ahead and buy the lens. Now, as you may have seen, I've decided this isn't the lens for me.

 
DMC-365.blogspot.com
 
 

I Really Sent It Back - More of a Reflection on My Shooting Style Than Lens Quality

 

Image Source: shop.panasonic.com

 
Well, my Lumix 12-35mm f2.8 is on its way back. It just didn't fit my shooting style.
 
I'm spoiled by my excellent prime lenses. Now, I really can't wait for that Olympus 75mm f1.8 to arrive!
 
DMC-365.blogspot.com
 

To Zoom or Not to Zoom - That Is A Question - The New Lumix 12-35mm f2.8 - Is It A Permanent Part of My Kit?

Cooling Off, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 12-35mm f2.8 Lens at 31mm

iso 200, f7.1, 1/2500 sec

 
I just spent a long weekend at a music festival with the new Lumix 12-35mm f2.8 Aspheric lens attached to my Panasonic DMC-G3. So what do I think? I'm conflicted to tell the truth.
 
First off - it was very nice to not have to change lenses much. The lens worked very well for shots of the crowd, dancers, vendors, and those types of things. It also did fine with wide shots of the bands. But, let's talk about that for a second. In shooting a full-stage image of a performing band, I needed to stop down at least a little - f4 at least, more likely f5.6. In daylight performances, not an issue at all. After dark, that required a little flash. But the real point is, if I'm using the lens in this way, why does it matter that it has a maximum aperture of f2.8? The answer is, it doesn't matter at all. I could have done just as well with my Lumix 14-140mm f4-5.8 lens. In fact, I would have had a much more useful focal length range. Yes, it's true that I'd lose the 24mm full frame equivalent field of view of the wide end, but that's not common territory for me anyway.
 
And that brings up another point. As I mentioned previously, the 12-35mm is just a little short of being a great portrait lens.
 
(Click Here) for my intial thoughts on the 12-35mm for candid portraits.
 
Now portraits are where the f2.8 can become important. But, at 35mm maximum focal length, f2.8 just doesn't quite do it.
 
Finally, I've become spoiled by my primes. At "normal" focal length, my Lumix 20mm f1.7 and Pana-Leica Summilux 25mm f1.4 lenses are so fast, f2.8 seems a little slow (in light gathering capability). I'm about to become even more spoiled, when my Olympus 75mm f1.8 prime shows up.
 
So, as you can see, I'm pretty far along in talking myself into returning the 12-35mm f2.8.
 
I think I would rather carry two camera bodies, and a couple of extra lenses, rather than accept these tradeoffs. I though that the 12-35mm may be important for event and travel photography for me. This weekend told me that I would be happier with primes at events. For travel, the 14-140mm f4-5.6 is still a great option for well-lit scenes. It has enormous focal length range, too.
 
Just for balance, you may be interested in reading a post on ePhotoZine about the joys of zoom lenses.
 
(Click Here) to read one author's experience of reducing his Nikon DSLR kit size with a super-zoom (Nikkor 28-300mm).
 
Just imagine the benefit this author would get from Micro 4/3 gear. Weight becomes negligible with a single body, single zoom approach.
 
DMC-365.blogspot.com
 
 
 

Is the Lumix 12-35mm f2.8 a Portrait Lens?

 

Festival-goer, by Reed A. George

Panasonic Lumix DMC-G3, Lumix G Vario 12-35mm Aspheric f2.8 Zoom at 35mm

iso 160, f3.2, 1/800 sec

 
This is a pretty good example of a picture that I want to be able to take at music festivals. It's not a head shot style portrait. Perhaps it's wide enough to be called an "environmental portrait." It gives some context to the subject. However, I really want to be able to separate the subject from background with shallow depth of field.
 
It is a matter of physics that Micro 4/3 lenses will have more depth of field at a given field of view, because of the crop factor and sensor size. That is, in the shot above, which was shot at 35mm focal length on Micro 4/3, has the same field of view as a 75mm lens on a full frame 35mm sensor. The Micro 4/3 lens has more depth of field in this shot than if I had shot it with a 75mm on full frame at the same f-stop (f3.2 in this case). All this adds up to less ability to separate your subject from the background with the Micro 4/3 format at a given field of view and aperture.
 
While I like this shot very much, I would prefer to have the background blurred more. Yes, I should have shot it at f2.8, which would have narrowed the field of view a little more, but that's only a half-stop wider, and would not have made much difference.
 
So, my preliminary conclusion is that no, this is not the perfect lens for these types of shots. I could have done better with one of my prime lenses - either getting closer with the Summilux 25mm f1.4 or using the Pana-Leica 45mm f2.8 Macro-Elmarit. Actually, the 45mm f2.8 may have been about the same, since I would have had to move away from the subject, which increases depth of field. The true best would be an Olympus lens - either the 45mm f1.8 (which would have been perfect for this shot), or the 75mm f1.8, which would have required me to be further away. I don't own either of the Olympus lenses, yet. The 75mm is on order.
 
I must say that I've enjoyed using the new Lumix 12-35mm f2.8 lens this weekend. However, I am close to concluding that I prefer to shoot primes. I've been very careful with this lens over the past couple of days. I have in my mind that it may go back for a refund. I haven't decided yet, and need to look at more results.
 
Don't get me wrong. It's a very capable lens. I just think I prefer primes.
 
DMC-365.blogspot.com
 
 

Panasonic Lumix 12-35mm f2.8 - My First Results - Portrait of the Artist

 

Portrait of the Artist, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 12-35mm f2.8 Lens at 19mm

iso 400, f4, 1/500 sec

 
I saw this guy painting on-site at the Floyd Festival. He told me that his canvas had accidentally gotten a hole in it after he started the painting. Rather than worry about that, he added a few more. He was in the process of gluing on artistic features to the back, which will show through the holes. I couldn't resist, and had to ask him to take this pose for me.
 
I used the new Panasonic Lumix 12-35mm f2.8 lens all day yesterday, and must say I'm impressed. I think it's going to spend a lot of time on my camera.
 
I am finding that the focal length is a little short for portraits, at least my type of candid portraits. I feel that I have to get pretty close, even at 35mm. The 12mm end is a very nice wide angle.
 
DMC-365.blogspot.com
 
 
 
DMC-365.blogspot.com
 

It's Here - And I Think I Like It

 

Panasonic Lumix 12-35mm f2.8 Power OIS Zooom
Image Source: http://shop.panasonic.com/shop/model/H-HS12035
 
I received the lens right before leaving for the music festival I'm at now (Floyd Fest 11).
 
(Click Here) for Floyd Fest
 
I used it all day yesterday, but haven't uploaded images yet. I will have lots of samples for you after the festival ends on Sunday.
 
It was really nice to be able to minimize lens changes yesterday.
 
I am surprised that Panasonic beat Olympus in delivery (I'm still waiting on the Oly 75mm f1.8). These companies don't need to learn or compete with each other on delivery - they need to learn from a fast company. I understand - they have to announce products early for advertising purposes - but are we really happier as customers in the end, having to wait months after making that impulse purchase? I'm not.
 
Anyway - look for some samples coming up soon!
 
DMC-365.blogspot.com
 
 

Music Festival Photography - Timely Piece on ePhotoZine

 

"The Shakedown," by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5

iso 200, f5.6, 1/60 sec

 
There's an entry on the ePhotoZine blog about festival photography. This is timely, as I'm heading out to Floyd Fest starting tomorrow (by the time you read this, I'll be at the festival).
 
(Click Here) to see the Floyd Fest webpage.
 
It's a five hour drive from home, and I'll be staying for three nights.
 
Okay - so what does ePhotoZine have to say about festival photography? Here are the main points:
 

1. Get a high vantage point if possible.
2. Arrive early - good advice for any event.
3. "Good Zoom" - this means to be ready to use a range of focal lengths to me, not necessarily a zoom. They also mention waterproof cameras or cases at this point. I'll be bringing my Panasonic Lumix DMC-TS3 underwater camera to this show; I hope I don't need it.
4. Steady hands - some tips on minimizing vibration when shooting
5. Have a plan - this one is a must, especially at a large festival. There is no way that I'll cover all the bands at Floyd Fest. In fact, there's no way that I'll cover the whole day, every day, during a four day music festival. My goal is to see the bands that I know and like, and hopefully add a few new favorites.

(Click Here) to read the original piece on ePhotoZine.



My plan for this show is to take only Lumix gear, plus maybe one film camera. I will take two DMC-G3s, Lumix 12mm f2.5, Pana-Leica 25mm f1.4 and 45mm f2.8, Lumix 100-300mm f4-5.6 and Voigtlander 75mm f2.5 manual focus Leica Thread Mount (LTM) lenses, and Nissin flash. I am receiving my new Lumix 12-35mm f2.8 zoom today. If I'm comfortable with its operation, it may replace all the primes for this trip, but I doubt it. It's never a good idea to rely too much on a new lens on a trip.
 
In terms of a film camera, I'm planning to carry a Leica CL and adapted LTM 3.5cm Elmar f3.5. I hope to use that for candid shots of festival-goers.
 
DMC-365.blogspot.com
 
 

New Lumix 12-35mm f2.8 In Stock! - One Left at Amazon

 

Image Source: shop.panasonic.com

 
Amazon has the lens in stock now! According to the page, there's one unit left, but more on the way.
 
DMC-365.blogspot.com
 
 

Andy Hendriksen Reports Why He Sold His Nikon DSLR In Favor of the Olympus OM-D

 

Olympus OM-D

Image Source: http://www.olympusamerica.com/cpg_section/images/product/1583/360/000_000.png

 
Andy Hendriksen has written a full report on why he has made the shift completely away from DSLR to Micro 4/3 equipment.
 
(Click Here) to read Andy's report on The Phoblographer.
 
Andy explains how the advent of the Panasonic DMC-GF1 a few years back immediately drew his attention (and a purchase), but was not enough to convince him to sell his Nikon DSLR. This had to do with two major points: 1) performance of the GF1 itself, particularly low light performance and autofocus speed, and 2) a lack of a complete lens set. That said, Andy indicates that he thoroughly enjoyed the GF1, and took it many places that his DSLR would not have gone.
 
Andy feels that the Olympus OM-D represents the tipping point in performance that allows him to replace his DSLR with Micro 4/3 equipment. Timing is also right for him, as there is now a nearly complete stable of lenses available.
 
Like me, Andy was intrigued by the Fuji XPro1 camera, which is a mirrorless system camera, but not Micro 4/3 format, but decided not to go that way because of some performance points, and because there are less lenses available.
 
Andy settled on the OM-D body and the following lenses: Olympus 12mm f2, Pana-Leica Summilux 25mm f1.4, and Olympus 45mm f1.8. He sold his Nikon kit. So far, he's very pleased with his decision.
 
I have not gone as far as Andy. My choice of bodies was the DMC-G3, which I am still quite pleased with. I find the autofocus to be very fast, the options myriad and useful, and the low light performance a giant step up from my previous DMC-G1 and GF1. I should say that both the G1 and GF1 are great cameras, but the new generation surpasses them. My lens kit is not far off from Andy's, either. I lean heavily on primes, most notably the Lumix 14mm f2.5, Pana-Leica Summilux 25mm f1.4, and Pana-Leica 45mm f2.8 Macro-Elmarit. I thought the Summilux would not replace the excellent Lumix 20mm f1.7 for me, but it all but has, even though they're quite different lenses.
 
I am planning to add an expensive new lens to my kit, which will be my first Olympus lens - the 75mm f1.8, as soon as it's available.
 
All that said, I am not ready to sell my Nikon D700 DSLR. In fact, last weekend, I shot both kits at a music festival, and each has their merits. They are not interchangeable. I shot the G3s all day long, then switched to Nikon for the evening shows. Part of this was because I have longer lenses in Nikon, and used my 300mm f4 Nikkor quite a lot. Thinking this way, the new 75mm f1.8 from Olympus would have allowed me to leave the much heavier and more obtrusive Nikon kit at home.
 

Jack Pugh of Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3

 
However, any way I look at it, the D700 still significantly outperforms the G3 in image quality, and several other aspects. When I look at some of those images from the D700 over last weekend, the quality is astounding. So, no, my D700 isn't going anywhere.
 

Iron Horse Band, by Reed A. George

Nikon D700, Nikkor 300mm f4 AF-IF

 
I have come to consider my Micro 4/3 kit (DMC-G3 and a few primes) as my new 35mm film equivalent kit. The Nikon D700 is my medium format film equivalent. I fully believe that it provides every bit as much image quality as my medium format film cameras ever did.
 
Don't get me wrong - this is not an advertisement of full satisfaction with the Nikon DSLR. If it were, this blog would not be about Panasonic and Micro 4/3 gear. The Nikon gets a tiny fraction of the use of my G3s, in large part due to weight and size. But, one does not replace the other. I'm not sure it ever will.
 
This does leave me wondering exactly where to draw the lines of lens selections for Micro 4/3. The case in point is the new Panasonic Lumix 12-35mm f2.8. This lens is very expensive, especially for Micro 4/3. I don't know if I'm ready to drop that kind of money on a fast zoom for Micro 4/3, or whether I will stick primarily with the excellent prime lenses I already have, plus the new Olympus 75mm. No question, the primes are great. The zoom could be an excellent solution for travel. I'm not sure where I'm going with this one, but my wallet is warming up in my pocket as I write...
 
DMC-365.blogspot.com
 
 
 

LensRentals Has the New Lumix 12-35mm f2.8 - But You Can't Rent It Yet. Good Informal Review, Though

Panasonic Lumix 12-35mm f2.8 Zoom

Image Source: http://shop.panasonic.com/shop/model/H-HS12035

 
Apparently, Lens Rentals (lensrentals.com) has gotten its hands on one of the new 12-35mm lenses before it's officially in stock anywhere else.
 
(Click Here) to see Roger Cicala's impressions from shooting with the Panasonic Lumix 12-35mm f2.8 lens over at lensrentals.com.
 
They are planning to offer it up for rental in the next couple of weeks. I like that they are going to let this new lens sit on their own Olympus OM-D body for a while, just to make sure there's no crazy fungus living inside that will affect their customers' cameras.
 
Roger did an informal comparision of the OM-D and Lumix 12-35 to a Canon 5d MkIII and Canon 24-70 f2.8 lens (same field of view as the 12-35, except for the difference of 24x36mm vs. 4:3 format). This was a quick, admittedly unscientific comparison. All that I can gather from it is that the Lumix images look every bit as good to me, perhaps better in some cases. What is difficult to factor in though, is that the Lumix lens will have a larger depth of field than the full frame Canon lens, at a given focal length and f-stop. In other words, more will be in sharp focus with the Lumix lens. This is not always what you want as a photographer, especially when shooting portraits, where you'd like the background to be soft and unobtrusive.
 
Anyway, I look forward to trying out one of these lenses. Roger suggests that it performs very well, a little less well than equivalent primes, but at least as good as the fast, high priced zoom from Canon.
 
I may actually rent one before deciding on this lens. $1,300 is nearly a third of the way to a used Leica M9 body, which is something I'd rather have. And, I have the primes to cover most of this range already. Again, $1,300 is a lot to pay for the convenience of not having to switch prime lenses, especially if it comes with any image quality compromise, which of course it does.
 
I know that many people have already preordered this lens. For those of you - it looks like you may not have to wait much longer. I hope you all share your results! I'm looking forward to seeing more from this lens.
 
DMC-365.blogspot.com
 
 

Jordan Steele's Thoughts On The Panasonic Lumix 12-35mm f2.8 and Olympus 75mm f1.8 Lenses

 

Panasonic Lumix 12-35mm f2.8 Zoom

Image Source: http://admiringlight.com/blog/thoughts-panasonic-12-35-olympus-75-18/

 
Jordan Steele, who runs the blog Admiring Light, has posted his initial thoughts on the two new lenses on my mind - the Lumix 12-35mm f2.8 zoom and the Olympus 75mm f1.8 telephoto.
 
(Click Here) to read Jordan's piece on Admiring Light.
 
First, on the Lumix zoom, Jordan remarks on the common complaints from prospective users: price and lack of shallow depth of field. Keep in mind, none (or nearly none) of these people has had the opportuntiyt to try or even see the lens. Price is what it is. I think $1300 is a lot for a normal range zoom, even at f2.8. However, it's lower than the equivalent from Nikon. Of course, the Nikon lens is designed to cover a full 35mm frame, so there's more glass in the Nikon. Anyway, most people don't get into photography to save money. Second, depth of field. The issue is that with the smaller sensor (compared to 35mm) used in the Micro 4/3 cameras, shallow depth of field requires a wider aperture at any given focal length. In layman's terms, it's harder to get out of focus backgrounds, which is desirable for portraits and other images where you want to focus attention to the foreground subject. Yes, it's true. The Physics don't lie. You can't get the same shallow depth of field at f2.8 that you get on a full-frame lens. However, with the zoom at 35mm focal length (the longest setting), which is what you'll use for portraits much of the time, the depth of field will be plenty shallow in my opinion. In fact, I see an awful lot of portraits where the photographers take shallow depth of field too far - the subject's eyes are in focus, but their nose is not. Too far. Anyway, I understand that it's always good to be able to get shallower depth of field. I'll make that trade for the smaller form factor of Micro 4/3 cameras.
 
Next, the Olympus 75mm f1.8. There will be no problem with shallow depth of field here. At f1.8, it should be very shallow. This is one lens I can't wait to try. I sure wish I could have one this weekend for the music festival I'm planning to attend.
 
These reviews, including mine, from people who have yet to touch the lens, are of very limited value. We can discuss what we can surmise from the specifications (which is actually quite a lot), but we cannot see the more subjective features that are part of loving or hating any lens or camera.
 
I'm still on the fence about the 12-35mm, but fully expect to be able to give a hands-on review and samples from the 75mm f1.8 very soon. As soon as it's available for purchase, that is.
 
DMC-365.blogspot.com
 
 

Waiting For The New Lumix 12-35mm f2.8 To Become Available, and Thinking..

Panasonic Lumix 12-35mm f2.8 X lens

Image Source: shop.panasonic.com

 
 
I am watching daily (obsessively?) for the new Panasonic Lumix 12-35mm f2.8 zoom lens to become available for purchase. And, the wait is making me think more about it.
 
 
I have always preferred shooting with prime (fixed focal length) lenses. It's been said many times that primes are smaller, lighter, and generally faster than zooms. It is often argued that they produce better image quality. However, I think this is largely a holdover from the past. Lens technology is so good now that a state-of-the-art zoom is extremely capable.
 
(Click Here) to read a current post on mu-43.com where others are discussing their reasoning for wanting or not wanting the new 12-35mm f2.8 zoom.
 
One of the questions in the post above is whether a kit zoom like the 14-42mm lens minimizes the need for a fast zoom like the new 12-35mm. I say emphatically, no. The kit lenses really are the cheapest lenses out there, and don't fall into "state-of-the-art" in my opinion. Their variable, slow f-stop is a showstopper for all but the very best lighting situations.
 
(Click Here) for a post of one of the rare times I have used my kit zoom. I was not displeased with the results, but the lens was certainly limiting in which scenes I could record. For example, inside the mill, it was nearly useless without a tripod.
 
So, since I have a great set of prime lenses, why am I considering the new 12-35mm zoom? Well, to be honest, it's because I get tired of changing lenses in the field. And, especially at events, I do occasionally miss a shot while I'm fumbling to change lenses. This is why I now regularly carry two bodies - two identical Panasonic Lumix DMC-G3s. One is usually attached to a normal lens (Pana-Leica 25mm f1.4 Summilux, most commonly), and the other has either a short telephoto (Pana-Leica 45mm f2.8 Macro-Elmarit) or wide angle (Panasonic Lumix 14mm f2.5). I even find myself changing between wide angle and telephoto on the second body more often than I would like.
 
Right now, I am working on two long-term projects - 1) the Civil War Sesquicentenial and 2) local live music. Will this new zoom help me in those?
 
Well, I can honestly say that the 12-35mm f2.8 will be great for the civil war project. The majority of that project involves shooting in daylight, outdoors, and at events where things change reasonably quickly. Sometimes in working around crowds of spectators, or composing carefully to not include modern elements around re-enactors, for example, the flexibility of a zoom would be great. And, back to the example of the mill, I could have gotten by with f2.8 (not the f3.5-5.6 of the kit lens).
 
For shooting live music, I cannot see relying on f2.8 to be fast enough for shooting inside dark bars and music venues. I'm sure I'll stick to my Pana-Leica Summilux 25mm f1.4 for that. This is where the other lens I'm waiting on, the Olympus 75mm f1.8, comes in. Many times, I'd like more reach than the 25mm can provide.
 
I also enjoy travel photography a lot. The 12-35mm would be very helpful for that.
 
So, will the new 12-35mm stay on my camera all the time? No. But, I think it will certainly fill a gap for event and travel photography. How's that for rationalizing? :).
 
DMC-365.blogspot.com
 
 
 

It's A Good Week For New Micro 4/3 Lens Announcements - If You Can Afford Them

 

Image Source: http://www.mu-43.com/

 
In addition to announcement of the Panasonic Lumix 12-35mm f2.8, which I have been anxiously awaiting (priced at $1,299), this week also brings us pricing on another long-awaited Micro 4/3 lens, the Olympus 75mm f1.8 telephoto. According to dpreview, the Olympus lens will retail for $899.
 
(Click Here) to read about the Olympus 75mm f1.8 lens on dpreview.
 
Each of these lenses has a lot of appeal to me. I have tried the Olympus 45mm f1.8, read the reviews, and seen many great example images. It is a great lens. This new 75mm from Olympus give you significantly more reach, with the equivalent field of view of a 150mm full-frame 35mm format lens, and maintains the super fast f-stop of 1.8. That would be a killer combination for my concert photography.
 
As I've already written, the Lumix 12-35 also offers a lot for the travel photograper.
 
Well, I've been saving up, waiting for both of these lenses. Writing this blog has focused me on my existing Lumix equipment, and I haven't really bought a new lens or body since it started. I did buy the Nissin Di466 flash, but nothing else of consequence has made its way into my bag since January. I did have the brief temptation of (and cancelled order for) the Lumix fisheye converter. I'm glad I held off.
 
I think Olympus is better at actually getting new products to the US market soon after announcement. So, my guess is the 75mm will be available before the 12-35mm Lumix.
 
Exciting days for the expanding native lens set for our Micro 4/3 cameras!
 
DMC-365.blogspot.com
 

Big News for Today? - dpreview Gets Their Hands On The New Panasonic Lumix 12-35mm f2.8 Fast Zoom!

Image Source: http://shop.panasonic.com/shop/model/H-HS12035

This is a lens that Micro 4/3 users, especially Panasonic shooters, have been waiting for. I won't recount dpreview's impressions on a lens I have not yet seen. I will just point out two things that are important to me:

1. The lens is NOT equipped with powerzoom. GREAT! In my mind, powerzoom is primarily for videographers. I want the tactile response of a manual zoom. In fact, it's one of the very few tactile controls left in still photography.
2. The size is very nice for such a wide zoom. While it doesn't have the shallow depth of field of it's equivalent field of view 24-70 lenses in full frame 35mm format, it is tiny compared to those beasts. dpreview indicates that it's best balanced on a camera with a grip, like the DMC-G3. Again, GREAT!

(Click Here) to read the rest of their impressions on the lens over at dpreview.com. I hope it's ready for delivery soon.

 
DMC-365.blogspot.com