Metabones Speed Booster Adapter - Will This Attract Me to the Lumix DMC-GX7 More?

I have read about the amazing new adapters from a company called Metabones a few times, but didn't pay much attention. What's amazing about them? Not that they simply adapt various SLR lenses (including Nikkors) to Micro 4/3; I've had an adapter for that for a while now. Two things make this adapter different:

 

1. The adapter reduces the crop factor from 2x to about 1.4x on Micro 4/3, meaning that my Nikkor 20mm f2.8 SLR lens will have an equivalent crop to a 28mm lens on the GX7. That's useful.
2. The adapter makes the lens the equivalent of 1 full stop faster! So, that same 20mm f2.8 lens becomes an equivalent 28mm f2 lens on Micro 4/3.

Now, I figured this had to be some kind of gimmick. The only explanation I've seen is that it's sort of the opposite of a tele-converter (which reduces f-stop rather than increasing it). But now, I've seen it enough to look closer. For example, here's a shot from SOUNDIMAGEPLUS, using a Nikon 50mm f1.4 on the GX7 with the Metabones adapter.

Image Source: http://soundimageplus.blogspot.com/2014/03/a-superfast-alternative-panasonic-gx7.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+blogspot%2FpcppU+%28Soundimageplus%29

 

(Click Here) to read the post on SOUNDIMAGEPLUS and see several sample images.

 

I've read several reviews of this component, and am pretty convinced it's for real, and high quality. I may just have to give it a try.

 

(Click Here) to read more about the adapter on dpreview.com.

 

These things aren't cheap at about $430. Also, there are a few things I don't understand at this point. For some reason, the Nikon to Micro 4/3 Speed Booster adapter is listed as being for "G" series lenses. I don't know if they are fully compatible with non-G lenses (those Nikkor lenses that have an aperture ring). I also don't know if they allow for open aperture metering. I guess I'd like to test one before purchasing.

 

In any case, it's on my mind now, and I'd like to try it.

 

If anyone has answers to how these work with non-G lenses (and even non-AI manual focus lenses), please comment and let me know!

 

DMC-365.blogspot.com

 

 

 

 

Old Lenses, New Bodies - I'm Not the Only One

 

Lotus, by Reed A. George

Leica M9, Leica 135mm f4.5 Hektor Lens

iso 200, f8, 1/125 sec.

 

I read an interesting post by Bill Fortney, about his experience of selling off his collection of Nikkor Ais lenses at some point in the past, in favor of more modern Nikkor lenses and digital equipment. Apparently, Bill had the good fortune of being a rep for Nikon, and therefore found the opportunities to again purchase his old favorite lenses, rebuilding his collection.

 

(Click Here) to read Bill's story and see some of his images.

 

Bill now shoots a Nikon D800 DSLR, but using his favorite manual focus lenses. Not one to avoid new technologies, Bill also shoots a modern Fuji digital body, the XE-1, with current Fuji lenses.

 

I think the lesson here is that a great lens or camera is timeless. Yes, newer, even better technology may come along, and if you get the chance, you should try it. However, think carefully before letting it replace an older kit that you've been happy with, made good pictures with.

 

DMC-365.blogspot.com

 

 

Legacy Normal Lens Makes Nice Portrait Lens on Micro 4/3

Image Source: http://www.mu-43.com/attachments/f57/13513-my-little-girl-forumrunner_20130113_171355.png

 

I love to see shots made with older lenses adapted to Micro 4/3 cameras. This one, by muzza on mu-43.com was made with a Panasonic Lumix GF3 and a Russian Helios 44, which is a 58mm f2 lens. On the smaller sensor of the Micro 4/3 Lumix, it makes a very nice, if slightly long focal length portrait lens, with a fast f2 aperture.

 

I very much like muzza's composition in this shot. The triangle of her left arm is an important element, and is just out of focus enough to be creamy in texture. The pen tip in her right hand is a nice focal point, in addition to her eye. The way her hair falls over her face also reinforces the feeling that she's intensely focused on her work.

 

With the great native Micro 4/3 portrait lenses out there now (for example the Olympus 75mm f1.8), it's easy to neglect those old classic lenses in your closet. Grab one and make a memory, like muzza has here!

 

DMC-365.blogspot.com

 

 

Perfection Lost

 

Near Perfection, by Reed A. George

Leica M9, 135mm Hektor f4.5

iso 200, f8, 1/125 sec

 
I've written before, recently, about the challenges of photographing often-photographed subjects. Yesterday, I decided to re-familiarize myself with an old lens, now that I have a Leica M9 that accepts older lenses without demanding a lens code and UV/IR filter, or cropping the image by a factor of 1.33x, as the M8 did.
 
All images in this post were made with the Leica Hektor 135mm f4.5 (ca. 1955). I think it's front-focusing by a small amount, but by f8 it looks pretty good. It certainly has character.
 
I went to my local Buddhist temple, which has a gorgeous set of small ponds with lotus flowers. The image above is the one that I think anyone would take. The amazing shape of the blossoms, along with the incredible colors and the repetition of the shape three times make for a nice, standard composition.
 
I wanted something more, something that may not appeal to everyone, but required a different perspective from me as an artist. The following images are what emerged - I call them "Perfection Lost."
 

Perfection Lost Number One, by Reed A. George

Leica M9, 135mm Hektor f4.5

iso 200, f8, 1/250 sec

 
You see, as Buddhism would teach us, all things are temporary. The blossoms achieve perfection only to be destroyed, to "go to seed," as some would say. They maintain beauty, just not perfection. And going to seed just starts the cycle over again.
 

Perfection Lost Number Two, by Reed A. George

Leica M9, 135mm Hektor f4.5

iso 200, f9.5, 1/90 sec

 
 

Perfection Lost Number Three, by Reed A. George

Leica M9, 135mm Hektor f4.5

iso 200, f8, 1/125 sec

 
 

 

Perfection Lost Number Four, by Reed A. George

Leica M9, 135mm Hektor f4.5

iso 200, f6.7, 1/180 sec

 
You see, life is not linear, going from start to finish. It is circular. It goes in cycles. That's comforting to a person a little past mid-life.
 
DMC-365.blogspot.com
 
 
 
 
 

Damsels - Not in Distress - Pentax M42 Macro on Lumix DMC-GH2

 

Damselflies, by GShooter on mu-43.com

Image Source: http://www.mu-43.com/f40/asahi-pentax-100mm-macro-lens-gh2-29746/

 
Poster GShooter on mu-43.com posted two awesome images of damselfiles, made with a Pentax screwmount 100mm macro lens. This is right up my alley. The subject, the equipment, the execution are all great!
 
(Click Here) to see the original post and comments. GShooter followed up with links to high resolution images.
 
I bet no one at Asahi Optical ever dreamed how that sweet little macro lens would end up being used...
 
DMC-365.blogspot.com
 
 

User Report on Steve Huff Photo - William Jusuf Uses a Lumix DMC-GF2 and Leica R 50mm Summicron For a Couple of Months!

 

Breads and Cakes by William Jusuf on stevehuffphoto.com

Image Source: http://www.stevehuffphoto.com/2012/07/10/user-report-my-journey-with-the-panasonic-gf2-and-leica-50-summicron-r/

Panasonic Lumix DMC-GF2, Leica 50mm Summicron R

 
William Jusuf presents a user report based on his concentration on using a Leica R-mount Summicron 50mm f2 on the Panasonic Lumix DMC-GF2.
 
(Click Here) to read the whole post on stevehuffphoto.com and see the other awesome pictures.
 
Here William shares a wonderfully non-technical, image-inspired review of the fun he's having with this adapted legacy lens on a Panasonic Micro 4/3 body. Of course, the Leica Summicron is world-renowned for its image quality, but the R-mount version is significantly less expensive than those made for the rangefinder M-mount. William puts it to great use.
 
I love seeing this kind of variety in results from such a limited equipment choice. Many would say that the 100mm equivalent field of view on the smaller Micro 4/3 sensor ruins the performance of the Summicron. Not only does it now act as a medium telephoto due to the crop factor, but the out of focus areas ("bokeh") will not be as pronounced, as the smaller sensor produces deeper depth of field than the original 35mm film would have.
 
I would say that William has done a beautiful job of showing just how capable this combination is. Do go look at the original post - there are many more great pictures there.
 
DMC-365.blogspot.com
 
 

Photographers Appreciate Local Musicians

 

Musicians, by Steven on mu-43.com

Image Source: http://anotherguywithacamera.zenfolio.com/img/s9/v14/p127639138-6.jpg

 
Poster Steven on mu-43.com shared a couple of nice environmental portraits of musicians at the park.
 
(Click Here) to see Steven's post on mu-43.com.
 
For the image above, he used a Panasonic Lumix DMC-GX1 and Lumix 20mm f1.7 lens.
 
I think this shot has a very nice color balance, sharpness, and composition. It does make you wonder what they're looking at...
 
Here's a street musician shot of my own, from downtown Frederick, Maryland. His name is Willie Barry, and he plays a mean guitar.
 

Willie Barry, by Reed A. George

Leica M8, Canon 50mm f1.4 Leica Thread Mount Lens

 
Here's to the local musicians that add their music to our experiences.
 
DMC-365.blogspot.com
 
 
 

ePhotoZine Posts Sample Shots From Olympus 75mm f1.8 on OM-D

 

Olympus 75mm f1.8 on Olympus OM-D, iso 320, f1.8, 1/160 sec

Image Source: http://www.ephotozine.com/article/olympus-75mm-m-zuiko-digital-f-1-8-lens-sample-photos-19553?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Ephotozine+%28ePHOTOzine%29

 
 
I am thinking very hard about reasons for and against buying the new Olympus 75mm f1.8 lens for Micro 4/3 cameras (like my Panasonic Lumix DMC-G3). Having shot with my Voigtlander 75mm f2.5 lens in Leica Thread Mount on the G3 recently, I'm pretty convinced the focal length is what I need for music photography.
 
(Click Here) to see my concert pics with the G3 and Voigtlander 75mm f2.5 Color-Heliar.
 
Because the new Olympus lens is so fast (in light gathering, f1.8), I wondered if the depth of field at that f-stop would be so shallow as to not be useful for portraits and people pictures. Depth of field is reasonable on my Voigtlander lens at f2.5, but what about f1.8? Well, ePhotoZine's picture above answers that question. It seems to have just the right amount of depth of field at f1.8.
 
It doesn't look good for me talking myself out of the new Olympus lens. :)
 
DMC-365.blogspot.com
 
 
 

Just Go Shoot, by Aaron Hardin on Steve Huff Photo

Photo By Aaaron Hardin

Image Source: http://www.stevehuffphoto.com/wp-content/uploads/2012/06/HARDIN-Ethiopia-2.jpg

I personally need to hear this message, repeatedly, often - "JUST GO SHOOT!" It really helps when it's accompanied by great photos, as it is here on Steve Huff's blog, in a brief, inspiring piece by photographer Aaron Hardin (aaronhardinphoto.com)

(Click Here) to read the post on stevehuffphoto.com

Aaron admits that he also gets his mind diverted by new equipment (the Leica M9, in his case), but is able to pull away and use what he already has to make beautiful pictures. In this case, he photographed in Ethiopia with a single film body (Leica M4-P), 35mm lens, and a bag of film. No back-up equipment.

Personally, I'm hesitant to attend a local event without a back-up camera body on hand. How often do I need a back-up? Very rarely. Especially if I'm restricting myself to a single lens.

I currently find myself strategizing which new lenses to buy for my Lumix Micro 4/3 kit - at the moment I'm fixated on the Lumix 12-35mm f2.8 and the Olympus 75mm f1.8. At the same time, I'm considering whether to broaden the scope of my blog sometime in the future, to regularly include equipment other than Panasonic. I already include other equipment, but try to keep a Panasonic-related theme. If I decide to broaden that focus, Micro 4/3 may not be where I want to add equipment. So, as you can see, I'm preoccupied with equipment. This is nothing new; I'm a self-described gear head.

But, I need to become equally obsessed with shooting great projects. Luckily, I'm persistently pursuing a couple of projects. For example, this weekend will add another piece to my local music project, with a festival on the shores of the Shenandoah River.

Obsession is not a bad thing. In fact, it's a common theme amongst highly successful people. I just need to keep mine focused on the photography, as well as the equipment.

Here's something for me to keep in mind: I have the same Leica M4-P and 35mm lens in my collection. When was the last time I took just that combination out and used it consistently? Well, let's just say it's not my normal mode. I will think about that.

Thanks for reading through my self-counseling!

DMC-365.blogspot.com

And, if you want to spend the same on a single lens that you'd spend on a whole kit:

 

Kirk Tuck of Visual Science Lab - Olympus Pen F 150mm f4 on G3 - Well, It Works Quite Well, Thank You!

 

Kirk Tuck's Panasonic Lumix DMC-G3 and Olympus Pen F 150mm f4

Image Source: http://visualsciencelab.blogspot.com/2012/05/panasonic-g3-meets-lens-from-another.html

 
Kirk Tuck recently wrote about the experience of using a very nice legacy lens on his Panasonic Lumix DMC-G3. This is the 150mm f4 made by Olympus in the 1970s.
 
(Click Here) to read Kirk's post on Visual Science Lab.
 
By the way, if you don't read Kirk's blog regularly, you should. Here's the address:
 

http://visualsciencelab.blogspot.com

 
Kirk's contention is that Olympus is following its own footsteps, introducing new Pen lenses for the Micro 4/3 line that represent equivalents to those of the past. The Pen F lenses were made for the original Olympus Pen system, which was a half-frame 35mm format - the same field of view as Micro 4/3.
 
Kirk also makes the point that without all of today's gadgetry built into the camera, great optics can still produce great results. I agree wholeheartedly. After scanning film for a couple of hours last night, I had a couple of examples that remind me how sweet old glass can be. For example, this is from my Leica Summar 5cm f2 lens from the 1930s:
 
 

Stand-Up Bass Taking a Rest, by Reed A. George

Leica IIIC, Leica Summar 5cm f2

 
The Leica Summar is a very early 35mm rangefinder lens, and is known for "soft" glass, which is easily damaged by cleaning or otherwise. In fact, it took purchasing three different units before I found an undamaged one. But boy, does it have character.
 
I will admit that while I am still in love with many of my old lenses, including attached to the latest Lumix bodies, I for one cannot wait to try out the new Olympus 75mm f1.8.
 
Thanks, Kirk, for sharing your thoughts!
 
DMC-365.blogspot.com
 
 
Notice: As of today, 6/1/12, this lens is only available for pre-order. It is not in stock.
 

Diversion From Lumix - Pentax MX, Spotmatic Cameras Go To The Car Show!

 

'57 Chevy Wagon, by Reed A. George

Pentax Spotmatic, Pentax 35mm f3.5

Last Saturday, I loaded up my Pentax Spotmatic and MX cameras with iso 200 film, and headed out to meet my friend James McKearney at the annual car show in Leesburg, VA. I also took along some Pentax lenses, the 35mm f3.5 and 105mm f3.5 for the Spotmatic, and a 50mm f1.7 for the MX.

As I've mentioned, this is a repeat event for me, so I was challenged to find something new and interesting to bring back. To start with, I decided to shoot some of the cars as they rolled into town. The shot above attests to the beautiful weather we had, and I think has that classic car and small town feel to it.

Classic Traffic Jam, by Reed A. George

Cobra Corps Arrives, by Reed A. George

How often do you get to see a line of Cobras like that? Not often.

The locals seem to love the show, for example this restaurant crew that came out to see the cars...

Spectator Sport #1, by Reed A. George

Spectator Sport #2, by Reed A. George

... or anything else that may have caught their attention.

This young lady decided to get her nails done on the spot:

Car Shows Mean Different Things To Different People, by Reed A. George

This guy had some on-site repairs to do:

Minor Tweaks? by Reed A. George

I will finish with a few more favorites from the day:

T-bird, by Reed A. George

Small Town Reflections, by Reed A. George

Classic Boots, by Reed A. George

(Click Here) to go to the full set of images on flickr.

 
I thoroughly enjoyed pulling out these two old film cameras for this event. Those Pentax lenses are really something. I even enjoyed waiting to see "how they came out." I hope you enjoyed seeing them.
 

 

All Up In My Grille!, by Reed A. George

 
DMC-365.blogspot.com
 
 
 

One of My Favorite Local Bands - Jake and the Burtones

 

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 800, f2.8, 1/60 sec, Nissin Di466 flash (bounced)

Jake and the Burtones are a local band here in Northern Virginia. I saw them last Friday night in Purcellville, at Market Street Coffee. If you're in the area, this is a very casual, relaxed place to hang out, and especially rewarding when these guys are playing. They call it "Loudoun's Living Room," which I think is appropriate.

(Click Here) to go to Market Street's homepage for directions and information.

Jake and the Burtones is made up of (left to right) Josh Cava, Jack Pugh, and Tmony Griffin (no Jake among them). They have gained some familiarity with me now, getting used to the old guy with the cameras that always smiles when they indulge him with a set of Grateful Dead cover tunes. I'm still hoping for that "Brokedown Palace" someday...

(Click Here) to see Jake and the Burtones' facebook page.

On this occasion, I took the opportunity to ask them for one posed shot during their break, photographing them from the inside of the door, which included a flyer for their show:

 

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 1600, f2, 1/100 sec

 
This is a hard-working band. Be sure and tip them on your way out!

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Leica Summarit 5cm f1.5 LTM (1953)

iso 1600, f-stop not recorded, 1/125 sec

The shot above was made with the first Leica lens I ever owned. The Summarit 5cm is a Sonnar design, from what I understand. It's not the sharpest tool in the shed, but it sure has character. I love the out of focus highlights.

Thanks for another fun night in the neighborhood, boys. See you next time.

DMC-365.blogspot.com

 

Kirk Tuck (of Visual Science Lab) Talks Up The Electronic Viewfinder (EVF)

Image Source:

http://theonlinephotographer.typepad.com/the_online_photographer/2012/05/kirks-take-electronic-viewfinders.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29

Kirk Tuck has written a piece on The Online Photographer, with some witty-but-practical thoughts about how electronic viewfinders (EVFs) compare and contrast to optical viewfinders (OVFs).

(Click Here) to read Kirk's post on The Online Photographer.

Kirk talks up the following features of EVFs:

1. "Pre-chimping" (this term belongs to Kirk :) ). This means being able to see how the camera's settings and electronics will treat an image BEFORE you shoot it. Not possible with an OVF, it can be achieved with live view on an SLR, but not with the camera to your eye.
2. Focus Peaking - I am not familiar with what Kirk describes, about the camera highlighting items that are in focus in your image. I'm thinking Lumix cameras don't do this? Please comment if you can shed any light on this subject.
3. The ability to quickly check an exposure in the EVF after it's taken, without having to take the camera away from your eye.

I certainly appreciate number 3, even though it makes people think I'm crazy when I've got the camera to my eye reviewing an image, not necessarily pointing it at my subject any more. My wife has said - "Why are you taking pictures of the sidewalk?"

On the downside, Kirk talks about the delay of the EVF making it more difficult to "lead" a moving subject (or at least different from the OVF), having to turn "Gain Up" (something I think is the default setting in Panasonic cameras) to see your subject in a dark setting, such as when you're planning to use studio flash, and the fact that EVFs typically represent an image in higher contrast than the true image, making the quick-check less effective.

On that final point, Kirk suggests that raw shooters can set their jpeg settings to low contrast, so that the image in the EVF more closely approximates what will be in the raw file. Nice tip.

I agree with Kirk on many points here. I love the "gain up" behavior of the Lumix EVF, which allows me to see what's going on in a dark scene by increasing the gain in the EVF (bringing up the light levels). I would add that this also allows visualization of the depth of field, if you're using a lens that closes the aperture down before the shutter is released. This is the case with legacy lenses on adapters. This is a feature that makes EVFs a major advantage. Basically, even though the aperture is closed way down (reducing the light getting to the sensor), the EVF adjusts the gain to brighten the image going to your eye. So, you get enough light to see what's going on, and the lens is closed down, so you can see the true depth of field.

Contrast this to the old depth of field preview in an SLR (which makes the image in the OVF so dark you can't see anything), or the conventional rangefinder camera (which has no provision for depth of field preview).

That said, I still really love to look through an OVF. It just looks more "real." It makes me feel like I'm still there, present in the scene. The EVF doesn't do that.

I know that even though this is a Lumix blog, I've been referring to Fujifilm quite a lot. I bring it up here because I wonder just how well their hybrid viewfinder (which allows you to switch between EVF and OVF) gives the benefits and minimizes the disadvantages of both finders. I imagine the hybrid design is pretty well-covered by Fujifuilm with patent protection, but I'd sure like to see it appear on other cameras (especially Panasonic).

Thanks again, Kirk, for a thought-provoking piece!

DMC-365.blogspot.com

 
DMC-365.blogspot.com
 

A Fun Triptych (Series of Three Pictures)

Just thought I would share this little triptych from a quick venture into Washington, DC this morning:

Triptych, by Reed A. George

Panasonic Lumix DMC-G3, Carl Zeiss 25mm f2.8 Biogon

I shot this at about f8. I like how you can see the seconds count down in the crossing signal: 20, 19, 18...

DMC-365.blogspot.com

 

Pro Photographer Giulio Sciorio Writes About Professional Use of Micro 4/3 Equipment

 

Image Source: http://blog.giuliosciorio.com/wp-content/uploads/2012/04/fear.jpg

 
 
Professional photographer Giulio Sciorio has posted a piece on his blog about the barriers (both real and psychological) to other professionals adopting Micro 4/3 camera gear for their pro work. I will review his main points below.
 
 
(Click Here) to read Giulio's full post.
 
 
Giulio outlines the following five barriers to professional adoption of Micro 4/3 equipment:
 
 

1. It's not "professional" gear.
2. There aren't enough megapixels.
3. The noise levels are too high.
4. It's not full-frame!
5. Worries about what your professional colleagues will think.

First, Giulio identifies the concern over your clients not being impressed by the appearance of your gear, because it's not big, heavy, and expensive looking, as a real concern. He explains how he did two things to overcome this. First, he shot a series of street portraits with his Olympus Pen, and showed them to others before explaining what equipment they were made with. Second, he carried his Pen with his "professional" Canon gear, and impressed clients with shots made with the Micro 4/3 gear. For me, this is not a concern. That's because I don't really have clients. If anyone is interested in my photographs, it's because of the photographs, not the equipment. I'm not hired to cover any specific events, in general. If I were, I may try Giulio's "bring it along with the Pro gear" approach. Second, "there aren't enough megapixels." Giulio explains that even large format magazines need only around 9 Mp for a full page image. As for me, I would argue that there are too many megapixels in some cases. More megapixels = more noise (see "Third..." below). And, since megapixels are the universal language of camera marketers, having too few will never be an issue. Third, noise. Giulio handles this one through the simple statement that while his Micro 4/3 images do have more noise than full 24x36mm sensor cameras, he has never had a complaint from a client. He considers it part of the rendering style of the gear. For me, the noise concern has some truth to it. Back to megapixels, if my Lumix DMC-G3 could achieve the same noise performance as my Nikon D700 24x36mm sensor camera, I'd happily give up any extra megapixels. From my point of view, the noise issue improves with every iteration of Micro 4/3 sensor design, and is now well under control for most print sizes, and certainly for images on the computer screen. Now that the technology has gotten to this point, I see this concern as the same one that photographers used to have to make regarding 35mm versus medium or large format film. The Micro 4/3 kit has become my 35mm film equivalent, and is every bit as capable, in my opinion, with lots of advantages. The Nikon D700 is my medium format equivalent. If I'm worried about making super large prints or approaching perfection, I can decide to carry the big, heavy Nikon.

The fourth concern is "it's not full-frame!" Giulio makes a great case on this one. Of course it's full-frame. Full-frame is all relative. If you really want to argue, 24x36mm (35mm "full-frame") is not full-frame to a medium format film photographer. It's the image quality that counts. I totally agree with Giulio on this point.
 
 
The fifth, final concern is "what will my colleagues think?" Giulio's point here is that it's not your colleagues' opinion that counts. It's your clients.
 
 
I have experienced this one, even though I'm not a pro. One of my good friends is an ardent Nikon DSLR user. He asked me
 
 
"What does Lumix give you that Nikon doesn't? What got you started with it?"
 
 
Well, I have to admit, this got me thinking. What really got me into Micro 4/3 was the ability to adapt legacy lenses. That's a minor advantage for me, now that there are great native Micro 4/3 primes. What really sold me was size, weight, reduction in back pain. What keeps me in Micro 4/3 is the awesome progress it has made recently. One final note on this. It is my belief that being a photographer who takes a different approach, one that is not initially accepted in the professional community, has a history of ultimate success. Just look at the Leica. Pros turned their noses up, with very similar concerns about the "small format" of 35mm film that we hear today about Micro 4/3. Then they saw the images that could be made with a small, flexible, fast camera. The rest is history.
 
 
Giulio's article was thought provoking and useful for me.
 
 

Sumo Crossing, by Reed A. George

Panasonic Lumix DMC-GF1, Lumix 20mm f1.7 lens

iso100, f5.6, 1/100 sec

 
One of the things I love about this image is that the sign on the store across the street, which sells sumo souvenirs and the like, has a sign that reads "Kingu Saizu" in Japanese ("King Size" in English).
 
Small, fast cameras are fun and productive.
 
DMC-365.blogspot.com
 
 
 
DMC-365.blogspot.com
 

The PhoBlographer Tests the Zeiss Planar 50mm f2 M Lens on Micro Four Thirds

 

Image Source: http://www.thephoblographer.com/wp-content/uploads/2012/03/P5112317_lr-1000.jpg

I read an interesting post about using the Zeiss Planar 50mm f2 (Leica M mount) lens on Micro Four-Thirds cameras.

(Click Here) to see the original post at www.thephoblographer.com

The author (Felix Esser) makes several important points. First, he says that while he's satisfied with the Zeiss lens performance on both the Olympus E-P1 and the Panasonic Lumix DMC-G1, neither delivers a certain image quality that he sees using the same lens on the Leica M8. This is difficult to evaluate. Each M4/3 camera has so many settings, I find it a little hard to believe that one couldn't fiddle long enough and pretty much replicated the Leica's color, tone, and sharpness. The Micro 4/3 cameras have more recent sensor technology than the M8. The only differentiating thing I can think of is the lack of an IR filter on the M8 sensor, which is supposed to increase sharpness, but at the cost of color accuracy. I find with my M8 that the add-on UV/IR filters are absolutely necessary to achieve good color rendition, so I any benefit from not having the filter there must be lost.

I also found Felix's comments comparing the Olympus E-P1 and Lumix DMC-G1 of interest. It seems that he prefers the native jpeg output of the Olympus, but finds the Panasonic much easier to use with legacy manual focus lenses. This is mainly because of the increased resolution of the G1's electronic viewfinder (EVF). I bet he'd really like it if he tried the DMC-G3 or DMC-GH2.

Felix also provides a little information on the history of the Planar, which has always rivaled the Leica Summicron, both considered benchmarks for image quality in the normal lens range.

I don't have a 50mm Planar. I do have a Zeiss 25mm Biogon T f2.8, which should make a very nice 50mm equivalent on Micro 4/3. The 25mm Biogon is as well-recognized for image quality as the Planar. On my Leica M8, the Biogon makes a wonderful 35mm replacement (at ~33mm equivalent field of view).

However, I must admit, I rarely use the Biogon on M4/3. Why? A few reasons: 1) manual focus, 2) f2.8 (I prefer faster), 3) the existence of the Pana-Leica Summilux 25mm f1.4. The Summilux offers autofocus, 2 stops of increased speed, and excellent image quality. So, it's just a little hard to grab the Biogon and leave the Summilux behind.

I would be interested in hearing others' opinions about this. For a normal lens, I don't see much reason to use anything other than the Pana-Leica 25mm Summilux on my M4/3 cameras.

DMC-365.blogspot.com

 
 
 
 
 

The Ultimate Adaptation - 100 Year Old Camera on Modern Sensor

 

Image Source: http://ricknunn.com/wp-content/uploads/2012/04/Vest-Pocket-Lens-900x599.jpg

Rick Nunn's Hybrid - a 100 Year Old Vest Pocket Kodak and Canon EOS.

 

This is very cool! Rick Nunn shows how he adapted a 100 year old Kodak Vest Pocket camera to shoot on his Canon SLR. He includes a video to describe how it's done. Essentially, he attaches the camera to extension tubes, and a lens mount adapter.

 

(Click Here) to read Rick's post.

 

I am new to his blog, but definitely added it to my regular reading list. He seems to share my interest in cameras, blogging, and coffee.

 

This idea is interesting. I have an old Zeiss folder with a stuck shutter in the closet at home. This approach should work just fine, perhaps even easier, with Micro 4/3 bodies. Maybe I'll give it a try.

 

I'd like to see more examples from Rick's camera. Maybe that's coming soon.

 

DMC-365.blogspot.com

 

Don't forget all of those ready-made adapters to use your older lenses on Micro 4/3:

 

 

 

 

Micro 4/3 With Nikon PreAI Classic Lenses

Image Source: http://www.mu-43.com/f40/playing-some-pre-ai-nikkors-23110/
User wlewisiii on the mu-43 forum recently shared some nice black and white images, taken with classic Nikkor lenses:


(Click Here) to see the full post,


and (Click Here) to see wlewisiii's picasa albums.


These images were taken with an Olympus E-P1, and Nikkor 24mm/f2.8, 50mm/f1.4, and 105mm/f2.5 PreAI lenses.


I love the fact that all Micro 4/3 format bodies (be them Olympus or Panasonic) accept adapters for so many lens mounts. I find it interesting that the PreAI lenses are more compatible with Micro 4/3 bodies than they are with current Nikon bodies. I have two PreAI lenses - the 50mm/f1.4 and the 28mm/f2.8. I have not used them extensively on my Lumix bodies. Maybe I will give them more exposure time.


I find myself missing many of my old cameras. I wonder if using the old lenses on a Lumix body will help to scratch that itch? I will give it a try.


(Click Here) for a lively forum post on nelsonfoto.com about using older lenses on digital bodies. This includes lots of nice example images from my friends there.


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Get your adapter here:
 
 
 
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On Critical Focus, by Tesselator of GetDPI

 

Image Source: http://forum.getdpi.com/forum/4-3rds-cameras/35591-achieving-critical-focus.html
Tesselator's DMC-GH1 and Worn Manual Focus Assist Button
Forum member Tesselator on GetDPI posted a recent entry about achieving critical focus. Interestingly, while he uses legacy manual focus lenses almost exclusively, and does not own a single native Micro 4/3 lens, he is a dedicated Lumix DMC-GH1 user. Apparently, he's on his fourth unit.
(Click Here) to see Tesselator's post on Get DPI.
It turns out that Tesselator achieves astonishingly sharp focus not through any tricks or technologies; it seems he's just plain obsessive about careful focus and camera stabilization. The only kind of new tip he shares is using the automatic magnification for assisting manual focus that is available on the Lumix 4/3 cameras. In fact, you can see how he has worn the label on the button away through constant use, in the image above (small button to the left of "Menu/Set").
In this post, Tesselator also describes his extensive use of tripods. This is something we all need to hear again, once in a while. Of course, we all know that tripods are required for ultimate sharpness. But, it sure is easy to leave it at home.
I found it useful to read his experiences, including those with vintage Linhof tripods. I hope you find something useful in his post, as well.
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Here's a Post to Keep Your Eye On - Lumix Macros

 

Image Source: http://www.mu-43.com/f88/some-my-macro-shots-my-lumix-going-post-23297/

User StudioHeraBell on mu-43 started a new macro image post. Using a legacy Pentax macro lens and DMC-GH2, this looks like it could be interesting.

The image above is a closeup of tulip petals. I find it very attractive.

Macro is one of those types of photography you can do anywhere, any time. It's fun to play with lighting approaches, and make ordinary items seem anything but.

I have subscribed to the thread.

I did some macro photography of my own recently, of the new spring blossoms and flowers. I'll have to post some...

DMC-365.blogspot.com