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At last, radio TTL remote flash coming to Micro Four Thirds – PocketWizard FlexTT5 for Panasonic

Wednesday, September 21st, 2016

One area where Micro Four Thirds users have been seriously neglected is in radio TTL remote flash capability.

Micro Four Thirds users have had to settle for either light-based line-of-sight TTL remote flash, or non-TTL radio remote flash.

A big player in third party radio TTL remote flash technology is PocketWizard who have had their FlexTT5 units available in either Canon, Nikon or Sony versions for several years now.

This week PocketWizard have announced a Micro Four Thirds version – albeit at this stage only compatible with Panasonic GH4 camera in combination with either a Panasonic DMW-FL360L or DMW-FL580L flash but will support radio remote HSS TTL as well as normal remote radio TTL mode and their proprietary Hypersync non-TTL mode.

These units thankfully are firmware upgradeable, and they do intend adding support for other cameras and flashes, and there is no physical reason why this could not be extended to Olympus cameras and flashes given they use the same hotshoe pins (although Olympus has an additional power supply pin now which would be ignored by this units without issue) and essentially the same TTL technologies.

The units will cost $US186 per unit or $US299 for a pair (you need one for the camera and a receiver for the flash).



Which super telephoto lens for Micro Four Thirds? The Olympus 300mm f/4 vs Panasonic 100-400mm

Saturday, June 18th, 2016

Now that a few lens testing websites have had time to review the new super telephoto lenses for Micro Four Thirds, I thought it might be an opportune time to give some pros and cons of each.

The average consumer would be tempted to buy the least expensive zooms which cover the most range, such as the 10x 14-140mm zooms and the 4x super zooms such as the 75-300mm consumer lenses.

There is nothing wrong with doing this but one must be aware that there is no free lunch in photography – something has got to give, and in these lenses, it is image quality at the telephoto end, and the low aperture resulting in poorer capability for low light conditions, need for higher ISO, slower AF.

Panasonic has just introduced a high level 4x super telephoto zoom lens, the Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 ASPH which is a great lens given it is so small to reach 800mm field of view in full frame terms, while the 4x zoom is very versatile.

The lens is well built, weathersealed, has optical image stabilisation compatible with Panasonic’s Dual IS, 9 rounded aperture blades,  close focus to 1.3m is superb, high speed silent AF motors compatible with 240fps CDAF, focus limiter, zoom lock, sliding lens hood, and all this coming in at just under 1kg.

With the Olympus mZD 300mm f/4, Olympus decided to take a different approach and went for a very high end, optically superb (the sharpest lens they have ever made and that is saying something as Olympus make great lenses!), weatherproof lens but instead of going for a zoom lens, went for optical quality of a fixed focal length 300mm f/4 OIS lens, compatible with their 1.4x teleconverter.

Remember that 300mm on Olympus OM-D cameras or Panasonic cameras gives the same field of view as a 600mm lens on a full frame camera.

What do I want from a super telephoto lens?

  1. excellent optical image quality at the super telephoto focal length
  2. wide aperture to allow faster AF, shallower depth of field, better subject isolation, and lower ISO
  3. fast, accurate autofocus with focus limiters
  4. weatherproofing because these lenses are likely to be used outdoors in all conditions
  5. if it can be compact enough for comfortable hand held use, then an effective image stabiliser
  6. removable tripod mount (no need to carry extra weight if not planning on using a tripod)

So how did these lenses compare optically at 300mm focal length?

For this I found one website which has compared them all, so these charts are courtesy of ePhotozine which is an great lens testing site, worth a visit.

Resolutions at 300mm:

Olympus 75-300mm f/4.8-6.7 II
Panasonic 100-300mm f/4.0-5.6: results are better than the Olympus 75-300mm II and you get 0.5 extra stop aperture, but still not excellent sharpness at 300mm
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-f/6.3
Olympus mZD 300mm f/4.0

Chromatic aberration at 300mm:

Olympus 75-300mm f/4.8-6.7 II
Panasonic 100-300mm f/4.0-5.6: results are better than the Olympus 75-300mm II especially towards the edges
Panasonic 100-400mm f/4.0-f/6.3
Olympus 300mm f/4.0: superb results, especially at f/5.6 where it is incredibly sharp and with low CA!
Olympus 75-300mm f/4.8-6.7 II Panasonic 100-300mm f/4.0-5.6 Panasonic 100-400mm f/4.0-f/6.3 Olympus 300mm f/4.0
Price $US499 $US549 $US1799 $US2499
Weight 430g 520g 985g 1270g
Size 116mm 126mm 83 x 172mm 93 x 227mm
Filter size 58mm 67mm 72mm 77mm
distortion at 300mm 0.25% pincushion 0.8% pincushion almost zero 0.2% barrel
close focus 0.9m at 75mm 1.5m 1.3m 1.4m
optical image stabilisation no OIS 3-4EV OIS ?5EV OIS with Panasonic 6EV OIS with Olympus


You get what you pay for!

The budget 4x super zooms are great as light, compact, travel lenses but performance at 300mm is only fair, while the slow aperture will limit low light use. Of the two, the Panasonic 100-300mm gives sharper images and wider aperture at 300mm with only a little more weight and size.

The Panasonic 100-400mm is much more expensive and more than 50% bigger and heavier than these but you get more reach and better image quality and better image stabilisation and autofocus speed, making it a great, versatile lens.

The superb, but very expensive Olympus mZD 300m f/4.0 is just an amazing lens in every aspect, easily beating the above on image quality and image stabilisation as well as weatherproofing, and although it is not as versatile as the zoom lenses in terms of zoom, the f/4.0 aperture really makes a BIG difference in low light capability, subject separation, ability to use lower ISO for sports, and will probably allow faster AF. It is a much sharper lens and with faster AF than the Canon EF 300mmf/4L IS lens which only has 2EV image stabilisation and does not give the same reach even if used on a Canon 7D dSLR.

In addition, it is compatible with the Olympus 1.4x teleconverter to give the equivalent field of view of a 840mm lens on a full frame camera whilst allowing this to be hand held and used at f/5.6 (although it would probably be even sharper at f/8).

The Olympus lens is so good I just had to have a play with one, so here are some samples:

bokeh test

Above – a handheld bokeh test and to show how narrow the depth of field is at f/4 – this is a walking path and focus point is around 4m.


Above – hand held shot of the moon through thin cloud – focus was very fast, IS awesome, resolution superb, no purple fringing anywhere – fantastic indeed!

crop moon

Above is a crop of the moon shot showing all the craters.


Above is a hand held shot of sports under lights at f/4.0, ISO 2000, RAW file with post-processing to crop by about 1/3rd, add vignetting, and a edgy tonal structure. Unfortunately a 300mm lens is too long to be allowed into most commercial sports stadiums for commercial image licensing reasons, but as you can see, if you don’t have these issues, it can give awesome results indeed.

The AF technique I used for the sports shot was S-AF, central group of 9 AF points active, Release Priority OFF, burst mode on High, then just fired away (no half-press shutter as is usual to lock AF as in these scenarios just a straight shutter press usually gives better results as S-AF is so fast as long as contrast and light is reasonable).

The lens balances nicely on an Olympus OM-D E-M1 camera, such that carrying it in the hand for 1-1.5hrs was not a problem as total weight with camera but without the tripod mount comes to 1.8kg – easily passes for carry on cabin luggage in an airplane.

When reviewing images on the LCD screen, I was amazed by how sharp they were, even magnifying to 14x did not show the softness I usually see in many other lenses.

Hand held shots at 1/25th sec are very sharp as long as you hold it steady – quite amazing for 600mm field of view!

For commercial sports venues, I would really love Olympus to give us a great 200mm f/2.8 weathersealed lens which we can take into the venue – perhaps this will be their next fixed focal length telephoto! Here’s hoping.

Start saving up!!!

Disclaimer: I do not work for, nor am I paid in any way, by any photography company, including Olympus and Panasonic, and any gear I test, I have bought from a retail store without any privileged discounts.

2 new premium quality super-telephoto lenses for Micro Four Thirds – Panasonic 100-400mm and Olympus 300mm f/4

Friday, January 8th, 2016

Micro Four Thirds camera users are spoilt by the rich array of wonderful lenses at their disposal – but until now there has not been any premium quality super-telephoto lens optimised for CDAF (there are Four Thirds lenses such as the superb 300mm f/2.8 which do work well with phase detect cameras such as the Olympus OM-D E-M1), and now, at last, we have been endowed with 2 great lenses coming to a camera store near you over the next 2-3 months.

Each lens has its advantages and disadvantages which will make us all spend weeks trying to decide which will be best for our needs.

These lenses although very niche in the dSLR world given they would need tripods, have a much more versatile utility in the Micro Four Thirds world ranging from wildlife, nature macrophotography, sports action, and perhaps even for concerts when silent shooting is needed from a distance.

At only around 1kg, even long distance overnight hikers would consider carrying one of these to get those shots that full frame dSLR users would need Sherpas to carry their gear.

In addition, the amount of background perspective compression can make them useful for fashion photography and other creative uses.

The class leading image stabilisation of these camera-lens combinations with lower weight and bulk make them superior to dSLR alternatives for use where tripods are not useful such as on ships to the Antarctic, while the weathersealing and freezeproof design of the Olympus lens also comes in handy!

Common features:

  • compatible with any Micro Four Thirds camera whether Olympus or Panasonic – although having the same brand as your camera can give better functionality
  • weathersealing
  • high optical quality
  • tripod mount
  • focus limiter switch
  • close focus is around 1.3-1.4m giving very useful macro performance of around 0.48x macro in full frame terms
  • optical image stabiliser which can be combined with the camera’s sensor based image stabiliser to allow even better dual system image stabilisation (but will this work on different branded cameras?)
  • relatively large and expensive for Micro Four Thirds but smaller, lighter and less expensive than a full frame lens of similar quality and field of view
  • nano coating for reduced flare and improved contrast
  • fast, silent AF capable of face detection AF and even nearest eye detection AF, and optimised for video
  • 9 rounded aperture blades

The benefits of the Panasonic lens over the Olympus lens are:

  • its a zoom lens which means it is more versatile, particularly when subjects are coming towards you as you have 200-800mm field of view in 35mm full frame terms in an easily handholdable lens and it has a zoom position lock
  • it is considerably less expensive at $US1799 vs $US2499
  • considerably lighter at 985g vs 1270g
  • considerably shorter at 172mm vs 227mm
  • 10mm thinner at 83mm vs 93mm
  • smaller, cheaper filters at 72mm vs 77mm
  • AF will be faster on Panasonic Lumix cameras than the Olympus lens thanks to compatibility with Panasonic’s DFD (Depth From Defocus) technology (presumably no difference on Olympus cameras though)

The benefits of the Olympus lens over the Panasonic lens are:

  • wider aperture at 300mm allowing 1EV lower ISO to be used as presumably lets in around twice as much light or 1 stop more light (600mm field of view in full frame terms)
  • ability to use the Olympus mZD MC-14 teleconverter which converts it to 420mm f/5.6 (840mm field of view in full frame terms)
  • the “highest resolution lens ever made by Olympus” which promises superb optical quality
  • focus limiter switch has 3 settings not just 2 and thus improved utility for nature macrophotography
  • perhaps better weathersealing with its 11 separate hermetic seals, and Olympus is renown for its wonderful weathersealing
  • Manual Focus Clutch mechanism for improved manual focus feel and rapid access
  • configurable lens function button can be used to suspend C-AF, etc
  • image stabilisation may be somewhat better, particularly as few Panasonic cameras have built-in sensor based image stabilisation and Olympus are class leaders in this technology

The Panasonic Leica DG 100-400mm f/4-6.3 Power OIS lens:

Panasonic lens

  • model H-RS100400
  • 200-800mm telephoto reach
  • 20 elements in 13 groups (1 aspherical ED lens, 1 UED lens, 2 ED lenses)
  • Power OIS image stabiliser with Dual IS compatibility
  • high speed digital signal exchange at 240 fps to comply with the high-speed, high-precision AF (Auto Focus) with DFD (Depth From Defocus) technology on LUMIX G cameras
  • focus limiter 5m to infinity
  • built in sliding lens hood
  • 171.5mm / 6.75in long but extends upon zooming
  • 83mm / 3.3in diameter
  • 985g / 34.74oz excl. lens hood, tripod mount
  • $US1799
  • see my wiki for more links and information

The Olympus mZD 300mm f/4 OIS lens:

Olympus lens

dual IS

  • 600mm field of view (840mm with MC-14 teleconverter)
  • weathersealed with 11 separate hermetic seals
  • freezeproof
  • 5-6EV optical image stabiliser and dual IS / sync IS with certain cameras
  • “highest resolution” Olympus lens ever made
  • fast, silent AF (completely silent shooting when used in electronic shutter mode)
  • Zero and Z nano coating
  • Manual Focus Clutch mechanism
  • 17 elements in 10 groups
  • close focus 1.4m giving 0.48x macro in 35mm terms
  • 3 position focus limiter: 1.4-4m, 4m to infinity and full range
  • configurable lens function button
  • 77mm filter
  • 93mm x 227mm
  • 1270g (27lbs) excl. tripod mount presumably
  • compatible with Olympus mZD MC-14 1.4x teleconverter to give 420mm f/5.6 (840mm telephoto reach in full frame terms)
  • $US2499
  • see my wiki for more links and information

Handheld video shot entirely at 840mm field of view using the Olympus 300mm plus MC14 teleconverter – amazing IS indeed!


Users will have an agonising decision to make as these are two wonderful lenses but given the price, it is likely only one will make it into your kit, so you need to decide whether you go for smaller size and zoom versatility vs larger aperture, perhaps better optics and better low light capability of the Olympus.

For those who cannot afford these, all is not lost, there are a number of enthusiast quality telephoto zooms for Micro Four Thirds which are lighter, smaller and much less expensive, but you do get what you pay for here. Examples are Olympus mZD 75-300mm f/4.8-6.7 and the Panasonic Lumix G Vario 100-300mm f/4-5.6 Mega OIS.

Compared to the new Canon EF 100-400mm pro lens:

For perspective, Canon has recently introduced a superb telephoto zoom lens, the Canon EF 100-400mm f/4.5-5.6L IS II USM lens which could be used on a APS-C cropped sensor dSLR such as a Canon 7D to give 160-640mm OIS which places it between these lenses in capability and price with these notable features:

  • only 640mm telephoto reach (on testing it only gets to 383mm = 613mm) and this is at f/5.6 (half the light of the Olympus and much less reach than the Panasonic lens)
  • heavier at 1.64kg incl. tripod mount
  • image stabiliser is not as effective (“4EV” vs “5-6EV” for the Olympus) and not able to be used in Dual IS mode as Canon do not make sensor based IS cameras
  • weathersealing is not as good as the Olympus as only “dust and moisture sealed”
  • cumbersome bayonet style lens hood not like the sleek slide on hoods on these lenses
  • AF is not optimised for CDAF camera systems and thus not optimised for Live View, silent AF, nor video C-AF nor for face detection or eye detection AF
  • vignetting is severe while sharpness is a bit soft wide open at 400mm when tested on full frame cameras
  • similar close focus macro magnification although working distance shorter at 1m
  • less accurate AF as needs micro adjustment calibration for each camera
  • AF sensors cover less of the image frame than with mirrorless cameras
  • $US2199

Other options for Canon and Nikon dSLR users:

Canon APS-C users also have the less expensive option of the excellent 1993 designed Canon EF 400mm f/5.6L lens which comes in at 1.25kg although much longer, and only $US1249 but it is not fully weathersealed, and does not offer image stabilisation and thus really needs to be used at high ISO and on a tripod, and the close focus capability is substantially poorer with close focus only down to 3.5m. Furthermore it only has 8 straight diaphragm blades not 9 rounded blades. Nevertheless, this lens has been popular with birders. Most Canon users though would be better off with the Canon EF 100-400mm II lens outlined above.

Nikon DX users have the option of the new Nikon AF-S VR 80-400mm f/4.5-5.6 G ED lens giving 120-600mm in full frame terms but it is a touch heavier at 1.47kg w/o tripod collar, priced at $US2299 (RRP is $US2699), does not focus as close (1.75m vs 1.4m), image stabiliser not as effective at 4EV, not optimised for CDAF (see above), cheap, plasticky bayonet lens hood, and is not weathersealed.

Both Canon and Nikon cropped sensor dSLR users also have the option of the 300mm f/4 image stabilised lenses combined with a 1.4x teleconverter to give around 600mm f/5.6 telephoto reach but these lens combos weigh in at about 1.4-1.5kg and would not match the image quality nor the image stabilisation of the Olympus lens, let alone the CDAF functionality. Nikon does however have a new fresnel technology ultralight 300mm f/4 lens which is half the weight of a usual lens and comes in at 755g and $US1999, but you then need to factor in the teleconverter and potential for fresnel artefacts.

Full frame dSLR users will have to use heavy, very expensive lenses to get to this 600-800mm telephoto reach or resort to 2x teleconverters with the above 300mm f/4 lenses and try to AF with an f/8 widest aperture.

More exciting Micro Four Thirds gear from Panasonic – GX8 camera, 200-800mm eq. pro lens, post-focus technology and more

Saturday, July 18th, 2015

Micro Four Thirds is going from strength to strength as the two main companies, Olympus and Panasonic take it in turns to announce great new gear and technologies.

This week it was Panasonic’s turn.

The Panasonic Lumix GX-8 camera


image courtesy of

This is a significant upgrade to the GX-7 model and includes many of the features of the new Panasonic G7 including its 4K video features, its Starlight AF mode, Clear Retouch, and its new button which enables the user to toggle functionality of the camera controls in a similar way to the Olympus 2×2 switch.

I am liking very much that Panasonic has finally started adding sensor based image stabilisation (IBIS) to some of their cameras such as is the case with this one and the GX-7 before it. Furthermore, Panasonic is taking it further by allowing it to be used in tandem with their optical IS mechanisms in many of their lenses for even better performance, hence “Dual IS” which is similar to Sony’s approach in their A7R II. Note that and the dual IS is not available in 4K video recording.

Another nice feature is that the GX-8 is now weathersealed and although it is somewhat larger than the GX-7 it does sport a better articulating EVF with higher resolution (2.36m dots) and magnification (1.54x magnification or 0.77x in full frame terms), while the rear screen is now an articulating OLED instead of a tiltable LCD which makes the Touch Pad AF (uise the rear screen to select AF point while viewing through the EVF) and there is an added dedicated exposure compensation dial to further improve ergonomic use.

It is also the 1st Micro Four Thirds camera to boast  a 20mp sensor (up from 16mp), which Panasonic says gives 1/3rd EV more dynamic range and a faster readout, plus it has a few new image processing tricks such as

Unlike the Panasonic GH-4, one cannot use the HDMI out video to simultaneously record uncompressed video as well as record internally,  but you do get a 2.5mm mic jack, and time lapse and intervalometer features, and it uses DFD technology for fast C-AF.

It should also be compatible, via a firmware upgrade, of Panasonic’s new post-focus technology which essentially shoots 4K images at 30fps at a range of different focus points so that the user can later select which focus point they wish. It is meant to be somewhat like the Lyttro camera but we will have to see how useful this function really is.

All in all, it is a camera that ticks most of my boxes – the important ones to me being compact size (but not too small), nice EVF, IBIS, weathersealing, great image quality and fast, accurate AF but at $US1199, I suspect it won’t be exactly cheap for us in Australia.

See my wiki page for more details and links.

The Panasonic Leica DG 100-400mm f/4.0-6.3 Power OIS ASPH zoom lens



image courtesy of

This lens will be to Leica’s optical standards and thus promises to be a very nice super-telephoto hand-holdable zoom lens giving 200-800mm telephoto reach in 35mm full frame terms.

It will be weathersealed, have Power OIS for effective optical image stabilisation, and fast AF thanks to the 240fps AF signal rate and compatibility with Panasonic’s DFD AF system.

A very exciting lens for the nature photographers which will compete with the forthcoming Olympus mZD 300mm f/4.0 lens for popularity – see my wiki page for more details.

The Panasonic Lumix 25mm f/1.7 lens

This is the third 25mm lens by Panasonic – the 1st was a large, heavy, extremely expensive but optically superb Leica-D 25mm f/1./4 lens for Four Thirds which I really love, and then this was replaced with the much more compact, lighter, more affordable Leica DG 25mm f/1.4 lens.

The new lens however, adds faster AF by offering the 240fps AF signal rate and compatibility with Panasonic’s DFD AF system.

Just a little gripe

One of the main powerful reasons to buy into Micro Four Thirds is that there are multiple companies contributing to the system, each bringing their own ideas and perspectives to design.

I wish they would share their technology more so that minor incompatibilities are eradicated such as Panasonic’s DFD fast C-AF technology only working with Panasonic lenses and the few Panasonic lenses with aperture rings which are only recognised by Panasonic cameras – I do like aperture rings but unfortunately Olympus has decided to ignore them.


Which lens to buy for your Olympus OM-D camera?

Saturday, May 16th, 2015

This is an extremely hard question to answer given everyone has different photographic needs and styles as well as budgets.

First, the consumer lenses:

Most newbies will tend to end up with one or two of the very good  consumer level “kit” zoom lenses as they are very well priced and affordable, especially when purchased as a kit with a camera.

All camera manufacturers offer such kits to allow the entry level budget compromised photographer an option of getting into the system.

Fortunately for Micro Four Thirds camera users, these consumer kit lenses tend to offer very good performance for the money and historically, the lenses have often outperformed their Canon and Nikon counterparts.

HOWEVER, most enthusiasts will tend to end up purchasing the higher quality “premium” or “pro” lenses and generally will cease to use these consumer grade lenses once they have an improved option.

The main issues with the consumer kit zooms are that their aperture is quite narrow – often f/3.5-6.7 at their widest aperture and this means several compromises:

  • they do not let much light in and thus will have more trouble locking autofocus in dim light and will probably require a flash to be used indoor, and will have very limited use when outdoor light levels fall unless you use a tripod.
  • the aperture is not wide enough to allow really shallow depth of field images for when you want to blur out the background (unless you are shooting macro close up subjects)
  • adding a polariser filter further darkens the already relatively low light intake, again limiting hand held options and AF locking capability in low light
  • given the consumer grade optics, best image quality is often at around f/8 instead of around f/4 with the premium and pro lenses, which further limits your options if you want the best quality shots
  • they generally are not weatherproof (important exceptions are the Olympus mZD 12-50mm lens and the Olympus m.ZD 14-150mm f/4-5.6 II)

Nevertheless, if you are shooting mainly outdoors in bright light and not needing to blur the background, these lenses make great travel companions and there are a LOT of lenses to choose from depending upon your needs.

Some things to consider are:

  • focal length range
  • size
    • in general, the more zoom, the longer and bigger the lens will be, so one has to weigh up what they can fit in their bag with what focal length range they need
    • some lenses also have the option of reducing down to a more compact size when not in use, but these can be a bit clunky to unlock and you can miss shots because you forgot to have it unlocked
  • silent autofocus for movies
  • autofocus speed – the older lenses designed around 2007-2008 tend to have slower autofocus
  • weatherproofing – only a couple of the consumer lenses are weatherproof
  • macro capability – the Olympus mZD 12-50mm lens is not only weatherproof but has very good macro capabilities

The Olympus “premium” lenses:

Olympus has marketed a middle tier of the m Zuiko Digital (mZD) lenses to the enthusiasts who want extra wide apertures either for low light work or for shallower depth of field and better ability to blur the background to emphasise your subject.

Furthermore, these are mainly “prime” lenses in that they only have one focal length and no zoom functionality which makes them easier to design for better bokeh – the aesthetic quality of the blurred background.

These lenses are generally very good optically even wide open at their f/1.8 or f/2.0 maximum apertures and are great for indoors or outdoors and perfect for portraiture, and creative arty work.

My personal favourite of these is the brilliant Olympus mZD 75mm f/1.8 lens which is fantastic for single person portraits and for creative shallow depth of field work.

If I only take 2 lenses with me, it will be this one and the Olympus mZD 12-40mm f/2.8 PRO lens.

If you can’t afford the 75mm f/1.8 lens and you want a similar look and you can be happy shooting in manual focus only, then try the Rokinon/Samyang 85mm f/1.4 lens.

Other great options are:

  • Olympus mZD 25mm f/1.8 – great for street photography, parties, small group photos, etc (a more compact alternative to this lens is the Panasonic 20mm f/1.7 pancake lens – this lets you get your E-M10 or E-M5 camera into a jacket pocket at social events or for walking the streets at night and doing hand held night urban landscapes)
  • Olympus mZD 45mm f/1.8 – great for portraits of couples or one person, if you have plenty of cash to spare, also take a look at the Panasonic 42.5mm f/1.2 lens for even shallower depth of field
  • Olympus mZD 60mm f/2.8 macro – the only “premium” lens that is weatherproofed – a must have lens if you are into macrophotography

My next tier down are:

  • Olympus mZD 12mm f/2.0 lens – this is great for hand held night urban landscapes and infrared landscapes, but if you own the Olympus mZD 12-40mm f/2.8 PRO lens, you may not use this as much as you think and for my mind, it is over-priced.
  • Olympus mZD 17mm f/1.8 lens – great for street photography and groups at parties, but perhaps not as good as the 25mm f/1.8 lens, although many people absolutely love this lens – I don’t have one

The Olympus “PRO” lenses:

These are the current holy grail for many Olympus users, great lenses, relatively compact for their capabilities, well built, weatherproofed, relatively wide apertures (most are f/2.8).

The most useful of these for most people is the Olympus mZD 12-40mm f/2.8 PRO lens.

It could probably replace the need for the 12mm f/2.0 lens (unless you shoot hand held at night), and the 17mm and 25mm f/1.8 lenses (although I would still like my compact Panasonic 20mm f/1.7 pancake lens to provide a compact, low light option).

The choice of a second lens to match with this lens depends upon your needs and may include one or more of:

And for the nature, wildlife or sports photographer, the much anticipated Olympus mZD 300mm f/4 PRO lens is due perhaps late 2015.

In the meantime, if I am shooting the moon or need super telephoto capability, I use the Olympus ZD 50-200mm f/2.8-3.5 SWD lens +/- EC-20 2x teleconverter which gives me up to 800mm f/7 capability in full frame terms.

Olympus has also indicated it will be working on even wider aperture prime lenses, so we can expect some f/1.2 and perhaps even f/0.95 lenses with autofocus and ability to AF on the closest eye which is one of the brilliant capabilities of Olympus cameras and much needed when using such shallow DOF cameras, and combine these with the awesome image stabilisation and your creativity can go wild!

Many, many more options:

The beauty of the Micro Four Thirds system is not only its compact, light size, the amazing Olympus image stabilisation which works on ANY lens, but it is extremely adaptable allowing one to use well over 50 lenses designed in Micro Four Thirds mounts as well as those in Four Thirds mount, but also almost any lens ever made via third party adapters which offer the following options:

  • plain adapters for manual focus of nearly any other lens ever made albeit in 2x crop field of view
  • focal reducer adapters for manual focus of nearly any other lens ever made but with a 1.4x crop field of view and a 1 stop wider aperture
    • for example, a Canon EF 135mm f/2.0 lens becomes a 100mm f/1.4 lens giving similar field of view and depth of view as a 200mm f/2.8 lens on a full frame camera
  • autofocus adapters such as the Kipon AF adapter which allows relatively fast AF using Canon EF lenses while providing aperture control
  • tilt-shift adapters which convert nearly any full frame Nikon lens into a tilt-shift lens

2 new very compact, high image quality Panasonic cameras for travel – the GM-5 and LX-100

Wednesday, September 17th, 2014

Panasonic have just announced 2 new cameras with Micro Four Thirds sized sensors which will be very attractive to those wanting a compact travel camera yet high image quality of a larger sensor.

The LX-100:

The LX-100 is a fixed lens camera (you cannot change the lens) but with a useful 3 x zoom and good low light capabilities and a built in viewfinder, but perhaps most interesting of all, is it has incredible 4K video capability.

This would make a perfect companion for a Micro Four Thirds camera with a 75mm f/1.8 lens!

Specs at a glance:

  • 16mp multi-aspect sensor giving 12.7mp actual at 4:3 aspect ratio
  • 11 fps (6.5 fps in C-AF) with 1/16,000th sec shutter
  • 10.9-34mm (24-75mm equiv.) F1.7-2.8 ASPH Leica lens, close focus 3cm, 9 aperture blades, aperture dial and aspect ratio selector, focus mode selector, 43mm filter thread, but no OIS nor IBIS
    • much more depth of field (DOF) control than smaller sensor cameras such as the Canon G7 X, G1 X II or Sony RX100
  • DFD AF technology to give faster AF
  • 3“ 921k dot LCD but no touch
  • 4K HD video (and 4K photo mode) at 30p, plus 1080 60p
  • electronic silent shutter mode
  • mechanical shutter is INSIDE the lens and thus allows flash sync at all mechanical shutter speeds!
  • bundled flash with support for wireless TTL flash
  • WiFi with NFC for smartphone control
  • 393g, 115 x 66 x 55mm
  • $US899

The Panasonic GM-5:

The Panasonic GM-5 is a true Micro Four Thirds camera with interchangeable lenses and replaces the GM-1, and importantly adds a built-in electronic viewfinder.

My main disappointment is the slow flash sync of only 1/50th sec but for those using this camera, they probably will not be using flash much any way.

Specs at a glance:

  • magnesium alloy body
  • 5.8fps burst
  • built-in 1,166K-dot EVF
  • hotshoe, bundled flash (GN 7m ISO 100), x-sync 1/50th sec
  • shutter to 1/16000th sec, plus Timed BULB to 60sec
  • fixed 921K dot LCD touch screen
  • 240fps AF readout, face and eye detection AF
  • WiFi smartphone control but no NFC
  • 1080 60p/24p HD video up to 24mbps
  • focus peaking
  • new “Snap Movie Mode” – can record video for short period of time (2/4/6/8 sec) as they shoot “moving photos”
  • Creative Control mode – 22 filters
  • Time Lapse Shot
  • Stop Motion Animation
  • Clear Retouch
  • silent electronic shutter mode
  • level gauge
  • Highlight/Shadow Control
  • battery life CIPA score 220
  • optional Hand Grip DMW-HGR1
  • 211 g (0.47 lb / 7.44 oz)
  • 99 x 60 x 36 mm (3.9 x 2.36 x 1.42″)
  • $US899 with G Vario 12-35mm f/3.5-5.6 ASPH lens

At long last, the Metabones Canon EF to Micro Four Thirds Speed Booster adapter is here

Thursday, August 28th, 2014

Be warned, this Metabones Speed Booster adapter is a very expensive, special niche item which will only suit some people with Micro Four Thirds cameras (there is a special “S” version or BM2 version for Olympus OM-D cameras – see below).

For someone like me who also has some great Canon pro lenses such as the 17mm tilt shift and the 135mm f/2.0, it becomes a very interesting proposition despite its price of $US599.

It will be of particular use to videographers who do not care much for autofocus anyway – see EOSHD first impressions


What can this adapter do?

  • it allows use of any Canon EF lens on your Micro Four Thirds camera with full aperture control, optical image stabilisation (if on the lens) and provides data for EXIF data store on the image
  • allows electronic manual focus – ie. turn focus ring and if camera and lens are set to do so, it will automatically activate magnified view mode
  • optional external 5V power supply
  • potential to also use other legacy lenses via adapters to Canon EF – but no aperture control, EXIF, OIS, and some lenses are NOT compatible due to rear projections potentially hitting the glass elements (eg. OM 50mm f/1.8 lens)
  • it does this with high optical quality 0.71x focal length reducing elements which:
    • reduces the 2x crop factor of Micro Four Thirds sensors to 1.4x crop factor – half way between APS-C (1.6x crop factor) and APS-H (the Canon 1D III/IV dSLRs which are 1.3x crops)
    • effectively allows 1 stop MORE light in, so your f/2.8 lens effectively becomes f/2
    • IMPROVES image quality, particularly for these full frame lenses which were mainly designed for film cameras – improved telecentricity, improved contrast, improved resolution

What can’t this adapter do?

  • does not fit on Olympus OM-D cameras as hits the protruding EVF
  • does not support Canon EF-S lenses
  • does not support autofocus
  • does not support dSLR focus confirmation – this is not supported on mirrorless cameras (eg. Dandelion chips on adapters for legacy manual focus lenses)
  • not compatible with some legacy lenses due to projecting rear mechanisms which may damage the glass elements
  • does not support in-camera lens corrections such as peripheral shading, CA and distortion


  • Canon EF 135mm f/2 L becomes 96mm f/1.4 = 200mm f/2.8 in 35mm fov and dof terms
  • Canon TS-E 17mm f/4 tilt-shift becomes 12mm f/2.8 = 24mm f/5.6 tilt shift in 35mm fov and dof terms
  • Rokinon 85mm f/1.4 becomes 60mm f/1.0 = 120mm f/2 in 35mm fov and dof terms
  • Canon TS-E 90mm f/2.8 becomes 64mm f/2 = 128mm f/4 tilt shift in 35mm fov and dof terms
  • Olympus OM 100mm f/2.8 becomes 71mm f/2 = 140mm f/4 ⇒ no advantage over the mZD 75mm f/1.8 and I am not sure if it can be used without modifications

A final question though:

  • for Olympus camera users – does the adapter send the 0.71x adjusted focal length to the camera or the actual focal length – this may be very important as the in-camera image stabilisation system (IBIS) relies on the effective focal length data, and given the adapter is electronic, users will not be able to manual over-ride the focal length as they can do with legacy non-electronic adapters
  • thus will the Olympus IBIS be accurate when used with this adapter – or does Metabones need to do a firmware update to ensure this accuracy?
  • I have emailed Metabones and will post the answer as soon as I get it.

Metabones have introduced a “S” version for compatibility with the protruding EVF of the Olympus OM-D cameras

The original version does NOT mount on the Olympus OM-D E-M1 or E-M5 due to the overhanging EVF getting in the way and only barely mounts on the E-M10. Their web page now states these models are NOT supported for this adapter!

In Oct 2014, a “S” version MB_SPEF-m43-BM2 was announced with compatibility for the OM-D’s but loses the jog dial which allows aperture control when using an external power source – can still control a Canon lens aperture using the OM-D or GH cameras power.

see Metabones S adapter.

Still have not heard from Metabones regarding the IBIS potential issue above either.

5 awesome cameras for 2014 – E-M1, E-M10, GM-1, GH-4 and Fuji X-T1

Friday, February 7th, 2014

Following on from the footsteps of the brilliant camera of 2012 – the Olympus E-M5, we now have a range of amazing cameras to build on it’s success to address nearly every need.

Firstly the Panasonic GM-1.

I am not a fan of cameras without viewfinders but the GM-1 has changed the face of the shirt pocket camera genre – previously ruled by the excellent Sony RX 100 II.

The GM-1 is a Micro Four Thirds camera and thus not only does it have interchangeable lenses unlike the fixed lens on the Sony, but it’s sensor is MUCH larger meaning higher quality images and more shallow depth of field is possible for when you want to blur the background.

It came with a new very compact 12-32mm f/3.5-5.6 ASPH MegaOIS kit lens and a silent electronic shutter and certainly has the compact size to suit most people who just want a camera for their purse or pocket to take anywhere. placed it 2nd to the Canon 5D Mark III for HD video in its league 3 category of cameras for HD video work!

Like any tiny camera it has its compromises, in particular, no viewfinder, poor flash capabilities and ergonomic issues due to small size – but they are the price you pay for tiny size.

Then came the photographic product of the year for 2013 – the superb Olympus E-M1.


Image courtesy of

This built upon the E-M5 and improved almost every aspect including the EVF and the world’s best image stabiliser, and added phase detect AF to provide much improved AF tracking of moving subjects and much needed fast AF support for the superb range of Four Thirds lenses.

Not only that but it became one of the 1st cameras of its type to have WiFi with NFC and allow smartphones to not only have images transferred easily but remotely control the camera, view the live image on the phone and even select an AF subject. Very handy indeed.

The image stabiliser is so good that voted it as the BEST camera for hand held video without resorting to a large image stabilisation rig.

Olympus then followed this up with the “entry level” Olympus E-M10.

It may be entry level in price but what a great camera – even better than the E-M5 with loads of new features including many on the E-M1 but also a built-in flash which will please many. The missing features will not be of great importance to the buyers of this camera – lack of weathersealing, only 3 axis IS instead of 5 axis IS, and a few other features.

Not to be outdone, Fuji stepped up to the plate with their well received Fuji X-T1.

The Fuji X-T1 is in many ways similar to the Olympus E-M1. It does have a larger sensor so can give marginally better image quality and potentially 1 stop shallower depth of field, plus you get to see the main camera settings by looking at the dials. But critically it lacks the great image stabiliser, the range of lenses and flash sync, shutter speed range, BULB modes are not as good while the lenses are much bigger and heavier.

Today, we have the announcement of the Panasonic GH-4.

This is an incredible camera in that it has the most amazing video features for a camera in the price range, plus it has high end still photography features although unfortunately there is no sensor-based image stabiliser.

At an expected price of under $2000, you get 4K HD video, uncompressed video out, up to 96fps 1080p slo-mo variable rate  video with very high image quality (200Mbps) and an optional accessory port add on which takes it to another level altogether.

As a stills camera, it is weathersealed, has awesome EVF, shutter to 1/8000th sec, Bulb to 60 minutes,  12fps burst (7fps with AF tracking), silent shutter mode, flash sync to 1/250th sec even for external flashes, eye detect AF as with Olympus cameras, smartphone WiFi remote control, and more!

GH-4 with YAGHE video accessory

Sony has started something big too.

Sony is threatening to change the photographic world with their full frame mirrorless cameras which they introduced in 2013.

Unfortunately, the 36mp model, the Sony A7R has not lived up to expectations as it is plagued with shutter issues and one really needs to use it on a tripod to make the most of it.

The 24mp Sony A7 on the other hand seems to be a much more useful camera, although both lack built-in image stabiliser which would make use of legacy lenses much more attractive while dedicated new AF lenses are rolled out.

I would really like to see Olympus bring out a full frame mirrorless with their 5-axis image stabiliser and given their collaborations with Sony it may eventuate.

But what has happened to Canon and Nikon?

Both Canon and Nikon were conspicuously absent in’s readers’ votes for cameras of the year for 2013 – even Pentax K-3 won the dSLR section which Canon and Nikon practically own!

Canon and Nikon must be planning something big because they have not been producing any exciting cameras for a while.

Their dSLRs are just conservative evolutions of their usual dSLRs not able to take advantage of the technologic advantages and functions available with mirrorless systems.

Nikon tried to go retro to piggyback on the retro success of the Olympus OMD cameras but came up with an expensive, dysfunctional camera – the Nikon Df dSLR.

Canon’s top of the range APS-C dSLR is still their ageing Canon 7D, although they did introduce a 70D with dual AF for live view.

Both Canon and Nikon are sitting on their 2012 technology full frame dSLRs – the Nikon D800/D600/D4 and Canon 5D Mark III / 1D X (other than the Nikon D610 which is just a fix of the problematic D600).

Canon’s mirrorless system, the EOS-M does not appear to be going anywhere – given the autofocus of the EOS-M was so terrible. Why haven’t they brought out a more capable camera? The answer may well be that they don’t care because Americans love BIG cameras so they are just going to sell cheap dinosaur dSLR products to Americans and bide their time until they come up with a killer product.

Meanwhile the rest of us have realised we can get practically the same results with more fun, better image stabilisation, better hand held video, less backache, and more space in our travel bags by buying Micro Four Thirds.

In search for the holy grail of 85mm wide aperture portrait lenses – 2 new premium lenses announced this week – Panasonic and Fuji

Tuesday, January 7th, 2014

For many 35mm full frame photographers, a wide aperture 85mm lens is the preferred tool for portraiture as the focal length allows a natural perspective without distorting facial features whilst still allowing the photographer to be close enough to interact well with the subject. Furthermore, the wider the aperture of the portrait lens means there are more options for creating shallow depth of field to ensure the subject is emphasized whilst the background is thrown into a nice blur – hopefully with nice bokeh qualities.

When it comes to shallow depth of field capabilities, Canon dSLR users reign supreme as they have access to the very expensive and heavy Canon EF 85mm f/1.2L II lens – the only f/1.2 85mm lens currently manufactured.

However, all is not what it seems.

As superb as this lens is, there is one huge draw back – the autofocus is very slow and combined with the extremely shallow depth of field, this lens can be very challenging to use well wide open.

Canon users then are at a quandary, as their only other Canon autofocus 85mm lens is the excellent consumer grade Canon EF 85mm f/1.8, but this lens suffers from significant purple fringing wide open.

Nikon users don’t have access to a 85mm f/1.2 lens but they do have a good Nikkor 85mm f/1.4G lens (the 1995 D version lens was designed for film cameras and was not great on digital cameras), so perhaps they have a better compromise than Canon users.

Sony full frame dSLR users are in a similar situation to Nikon users as they have the Sony Zeiss 85mm f/1.4 Planar T* lens but AF can be slow and at $1700 it is not cheap.

All dSLR lenses using phase detect AF need microcalibration of AF and this is particularly important with shallow depth of field images.

In addition, the above users have access to 3rd party lenses such as the excellent Sigma 85mm f/1.4 lens although AF speed and accuracy can be an issue. For those on a budget, the Samyang/Rokinon 85mm f/1.4 manual focus lens may fit their needs.

Cropped sensor dSLR users can resort to their 50mm prime lenses although they will have less ability to gain shallow depth of field.

What do we really need?

Extreme shallow depth of field is not usually the prime requirement, and most portraits can be shot at 85mm f/2.4-2.8 on a full frame camera and get potentially even better results wide open as most portraits are best if at least the area from the subject’s ear to tip of nose is in focus.

Indeed, if one is shooting low light portraits, or using fill in flash with a slowish shutter speed without a tripod, then image stabilisation becomes very important and none of the Canon or Nikon options offer image stabilisation.

Furthermore, the most critical technical part of taking the shot is often ensuring that the closest eye of the subject is the sharpest part of the image. This can be very difficult to achieve with dSLRs using shallow depth of field.

This is where mirrorless cameras can be the BEST tool for portraiture as they can offer:

  • sufficiently shallow depth of field
  • sufficiently out of focus backgrounds with lovely bokeh quality of the blurring
  • more depth of field wide open so you can use a faster shutter speed or lower ISO in low light if needed
  • image stabilisation to ensure excellent sharpness (Olympus cameras)
  • face detection autofocus with closest eye detection (Olympus cameras)
  • small camera and lenses to reduce the subject being intimidated and allow them to be more relaxed
  • high optical quality portrait lenses which are sharp edge to edge even wide open (full frame lenses generally lack sharpness just where you want the subject’s eyes)
  • consistently accurate autofocus (no need for microcalibrations)

This week, Panasonic and Fuji have officially announced 2 new premium portrait lenses for their mirrorless cameras.

The Fujinon XF 56mm f/1.2 R lens:

Designed for the 1.5x crop Fuji X mirrorless system and gives an equivalent to a 85mm f/1.8 lens in field of view and depth of field terms on a full frame camera.

This lens is well built, relatively affordable at $US999, and it should be a very popular option for Fuji users.

However, there is no image stabilisation, AF of Fuji cameras still lags behind Micro Four Thirds cameras, and closest focus is 0.7m which may be limiting for some uses.

The Panasonic Leica DG 42.5mm f/1.2 Nocticron lens:

A very expensive lens designed for Micro Four Thirds (which are 2x crop cameras) and thus gives an equivalent to a 85mm f/2.4 lens in field of view and depth of field terms on a full frame camera.

It has “Power OIS” optical stabilisation built-in, and Olympus users also have the option of using sensor-based image stabilisation.

Close focus is 0.5m.

Surprisingly it is a touch bigger, and heavier than the Fujinon lens, but perhaps it will have less vignetting.

This lens should be available from march 2014 at £1,399.


Given the advantages of image stabilisation, edge-to-edge sharpness, closest eye detection AF and generally quieter, smaller, less intrusive gear, my personal preference is for an Olympus Micro Four Thirds camera such as the Olympus OM-D E-M1 or E-M5 combined with either the 42.5mm f/1.2 lens if you can afford it, or the much smaller, less expensive Olympus mZD 45mm f/1.8 lens. Having said that, I do most of my portraits with the superb Olympus 75mm f/1.8 lens but this may be too long a focal length for many people.

For group shots at parties, you can’t go past a Micro Four Thirds camera with Panasonic 20mm f/1.7 pancake lens and a bounce flash – see my recent post.

If you don’t believe me that great portraiture is possible on these cameras, check out Sean Archer’s work with Micro Four Thirds cameras – see this post, and Edmondo Senatore’s work – see this post.

Showcase: Edmondo Senatore and his wonderful imagery using Micro Four Thirds

Monday, January 6th, 2014

Edmondo Senatore is an Italian photographer who has been photographing since he attended a school of graphic design as a teenager back in the days of the film SLR.

He has used Olympus Four Thirds dSLRs, then Nikon and Canon dSLRs, and now has migrated to Micro Four Thirds and is using the wonderful Olympus OM-D E-M5 camera.

Here are some of his wonderful images you can see on his website using Micro Four Thirds, enjoy:

The beautiful queen

Taken with Olympus PEN E-PL5 Micro Four Thirds camera.


Taken with Olympus E-M5 with Olympus 75mm f/1.8 lens.


Taken with Olympus PEN E-PL5 Micro Four Thirds camera and Panasonic 7-14mm f/4 lens at 8mm f/7.1.

Walking through my city

Taken with Olympus PEN E-PL5 Micro Four Thirds camera and Pansonic 12-35mm f/2.8 lens at 12mm f/5.6.