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Thread: 4/3 lenses on m4/3

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    Subscriber Member Jorgen Udvang's Avatar
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    4/3 lenses on m4/3

    I don't know if a thread like this has ever existed, but as far as I can remember, it hasn't. Since I'm mainly using 4/3 lenses on my E-M1, Zuiko 9-18mm f/4-5.6 and PanaLeica 14-50mm f/2.8-3.5 at the moment, this is a subject that is of particular interest to me. Hopefully, I'm not the only one, since some of these lenses are great classics. Here's my first contribution, processed with Silver Efex.

    E-M1 with PanaLeica 14-50mm f/2.8-3.5 4/3 @ 50mm and f/4

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    Re: 4/3 lenses on m4/3

    Hopefully others will join this thread, for now I've got only the Zuiko 7-14/4.0 ...

    Kind regards.
    Bart ...

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    Re: 4/3 lenses on m4/3

    I have a 40-150 4/3 zoom that I use occasionally, but not here in Russia ...
    So, in 3 months, I will be able to join this thread ...

    CU,
    Rafael
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    Re: 4/3 lenses on m4/3

    I have an Olympus Zuiko Digital ED 12-60mm f2.8-4.0 SWD, Olympus Zuiko Digital 14-45mm 1:3.5-5.6, Olympus Zuiko Digital 40-150mm 1:3.5-4.5, Olympus Zuiko Digital 70-300mm 1:4-5.6, Sigma 50-500mm F4-6.3 APO DG, all of which I use on my E-M1 via an Olympus MMF-3 adaptor. Actually, the E-M1's support for 4/3 lenses was a key factor in my deciding to buy the camera.

    When Olympus made it clear that there wouldn't be a 4/3 replacement for the E-5, I spat the dummy and purchased a Canon EOS 6D, together with a decent array of good lenses. Then I played with the E-M1 and tested it with my old Olympus Zuiko Digital 70-300mm 1:4-5.6. I was sold! I am now running both systems, but am using the E-M1 more and more as it is half the size and half the weight.

    I find that the Olympus Zuiko Digital ED 12-60mm f2.8-4.0 SWD works really well on the E-M1 through the MMF-3 adaptor. Maybe my copy is exceptional, but I find that I am getting better results with the Olympus Zuiko Digital ED 12-60mm f2.8-4.0 SWD than with the Olympus M.Zuiko DIGITAL 12-40mm f/2.8 PRO.

    Here is my E-M1 with the Sigma 50-500mm F4-6.3 APO DG attached via an MMF-3 adaptor:

    IMG_7327 by LJGGriffiths, on Flickr
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by griffljg View Post
    Maybe my copy is exceptional, but I find that I am getting better results with the Olympus Zuiko Digital ED 12-60mm f2.8-4.0 SWD than with the Olympus M.Zuiko DIGITAL 12-40mm f/2.8 PRO.
    That wouldn't surprise me. There is still a difference between optics and software.
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    Re: 4/3 lenses on m4/3

    I have found that that rather bulky combination above produces surprisingly good (to me at least) results:

    PB140012 by LJGGriffiths, on Flickr
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by griffljg View Post
    Maybe my copy is exceptional, but I find that I am getting better results with the Olympus Zuiko Digital ED 12-60mm f2.8-4.0 SWD than with the Olympus M.Zuiko DIGITAL 12-40mm f/2.8 PRO.
    Well, I'm sure the 12-60 is a fine lens, but please define "better results".
    I've got only the 7-14/4.0 and I do like the results, but then I've nothing to compare it to.

    TIA

    Kind regards.
    Bart ...

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    Re: 4/3 lenses on m4/3

    These are a couple of shots from the US Open in 2014 with the E-M1 and non-SWD 50-200. They were from the quarterfinals. The first one is a Bryan brother (they won the match and the finals) and the second one is Tomas Berdych, who lost to Marin Cilic. Cilic went on to win the US Open.

    Click image for larger version. 

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    Subscriber Member Jorgen Udvang's Avatar
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Knorp View Post
    Well, I'm sure the 12-60 is a fine lens, but please define "better results".
    I've got only the 7-14/4.0 and I do like the results, but then I've nothing to compare it to.

    TIA

    Kind regards.
    This is a very interesting question that I have been speculating a lot around lately. What I've found so far is that:

    - Sharpness is important, but there are other, equally important factors.
    - Micro contrast and transitions are possibly more important than sharpness.
    - Lens reviewers mostly measure sharpness.
    - Lens reviews mostly have value for people who are more interested in camera gear than photography, although a review can be a starting point.
    - High-end lenses are mostly sharp, but that is not the reason why they stand out from the crowd.

    I recently received my Zuiko 9-18mm in 4/3 mount, and although it's sharp from corner to corner, it's kind of disappointing. It lacks "life" and "bite". I should have paid twice as much for the three times as heavy 7-14mm. A couple of years ago, I used to have the Panasonic 7-14mm in m4/3 mount. Although it was a very convenient lens, mostly sharp and extremely compact for what it was, I was never really satisfied with it. The PanaLeica 14-50mm in 4/3 mounts gave me totally different and much better results on the GH3 body that I used then.

    Most of the m4/3 lenses are heavily software corrected. While that probably doesn't do much to the "objective" sharpness of the lens, I suspect that it takes away micro contrast and renders the images "flatter" and less interesting. This of course will never show up in a purely technical review like what one finds at DxO or Photozone, and unfortunately, those are the kinds of reviews that most photographers read. And MTF curves.

    Companies like Leica and Zeiss, but to a certain degree also the best Japanese companies, have of course understood these things for decades, and there's a reason why great glass costs umpteen times as much as good glass. But I don't trust reviews anymore, and have found that to evaluate a lens, I must own it and use it over time. It's expensive, but the satisfaction is priceless
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    Re: 4/3 lenses on m4/3

    The old lenses will not fare well compared to the current system lenses in terms of AF and full compatibility.

    Of course, there is absolutely no substitute for nostalgic value.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Vivek View Post
    The old lenses will not fare well compared to the current system lenses in terms of AF and full compatibility.

    Of course, there is absolutely no substitute for nostalgic value.
    With the E-M1, AF with the "old" lenses works well enough for most of my current work (sports obviously not included). When it comes to image quality, the 4/3 lenses are mostly superior compared to the corresponding m4/3 lenses. There are good reasons why some of these lenses still sell for top prices. The 4/3 25mm f/1.4 sells for twice as much used as the m4/3 version sells for new. Most of the top 4/3 lenses are still current products with Olympus and Panasonic, and are indeed available new from several Japanese dealers.

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    Re: 4/3 lenses on m4/3

    I have and use my old favorite E-system lenses on the E-M1: ZD 11-22/2.8-3.5, ZD 35/3.5 Macro, ZD 50-200/2.8-3.5 (with and without EC-14 1.4x converter). At one time, I also had the Panasonic/Leica Summilux-D 25mm f/1.4 ASPH and ZD 50mm f/2 Macro, but I sold them when I off'ed the E-5 to the same fellow who bought that from me.

    These were excellent lenses on the E-1 and E-5; they remain excellent lenses on the E-M1. That said, the Olympus raw converter included software correction profiles for all of them (and some of them need it), and the Summilux-D 25mm includes software correction in its firmware that is automatically embedded into all Micro-FourThirds raw files—it corrects for some lateral chromatic aberration. (The Panasonic/Leica Vario-Elmarit-D 14-50/2.8-3.5*ASPH does not have this feature.)

    Instead of re-buying the older FT Summilux, I bought the mFT version because it was much lighter and, in my testing, produced results that are virtually identical. I also bought the Macro-Elmarit-DG 45mm f/2.8 ASPH instead of rebuying the ZD 50mm f/2 Macro because, again, after testing them both extensively, I found the Macro-Elmarit was actually a superior performer.

    The ZD 9-18mm is a consumer grade lens, like the 35 Macro, and a good performer for it's price but not up there with the 11-22 (high grade), or super high grade, lenses.

    The ZD 12-60mm f2.8-4.0 SWD is another high grade lens and perhaps a tiny bit sharper than the ZD 14-54/2.8-3.5 original lens in the system. The Mark II 14-54 has superior bokeh, however, and the ZD 12-60 in the hands is front heavy and has mustache shaped distortion at wide settings which is hard to remove ... Olympus' own lens profile does the best job of it, but it's nowhere as sweet as the ZD 14-54 or Vario-Elmarit 14-50 to my eye.

    So if you're talking "optical" to "software", well, all these lenses were designed for software corrections to get the best performance out of them. The Olympus and Panasonic/Leica FourThirds SLR lenses are indeed beautifully made, superb performers (the ZD 14-35/2 SHG and ZD 35-100/2 SHG are probably amongst the finest of their focal length range ever made, as is the ZD 150/2 and ZD 300/2.8), never mind the ZD 7-14/4 SHG. These were all ultra premium, professionally targeted lenses and made the current range of mFT lenses seem rather inexpensive. They were all also double the size and weight ... The current marketplace doesn't want to spend that amount of money or carry that much weight for a FourThirds format camera, so they are disappearing.

    I have great fondness for the E-System cameras and lenses, still have (and occasionally use!) my E-1 with the 11-22, 35 Macro, and 50-200. The lenses are all wonderful. As a camera on technical merit, the E-M1 runs rings around both the E-1 and the E-5, and the lenses work just as well with it as they do with the SLRs.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Godfrey View Post
    (The Panasonic/Leica Vario-Elmarit-D 14-50/2.8-3.5*ASPH does not have this feature.)

    G
    The Panasonic/Leica Vario-Elmarit-D 14-50/2.8-3.5*ASPH does not need this feature. There are many good reasons why I love this lens, this is one of them.

    There are a few m4/3 lenses that have minimal software correction. The Zuiko 75mm f/1.8, the Macro-Elmarit-DG 45mm f/2.8 ASPH and the Panasonic LUMIX G Leica DG Nocticron 42.5mm f/1.2 ASPH Power OIS are the ones that I can think of. Coincidentally (or maybe not so coincidentally), those are also among the best m4/3 lenses when it comes to total rendering and sharpness.

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    Senior Member mediumcool's Avatar
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    Re: 4/3 lenses on m4/3

    I have three 4/3 lenses which work reasonably well on my E-M5 (I will probably get a used E-M1 when the mk2 comes out—still exxy here in Australia).

    The lenses are the 11–22, 14–54 and the superb 50mm macro; I find that the better the lens, the less work its pictures require in Capture One. The great levellers for me, however, are the Clarity sliders, particularly Structure—with a bit of work, many lenses can be made to look about as crisp as better samples. I shot an architectural job early this year, and borrowed a friend’s μ4/3 9–18 for pix that the 11–22 couldn’t quite manage, and the diminutive wonder worked very well, its results having no apparent differences, apart from the wider view (I don’t know anyone with a 7–14 and can’t afford to buy one).


    Not a 4/3 lens BTW!
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Knorp View Post
    Well, I'm sure the 12-60 is a fine lens, but please define "better results".
    I've got only the 7-14/4.0 and I do like the results, but then I've nothing to compare it to.

    TIA

    Kind regards.
    That's a difficult question to answer. The 12-40 is a wonderful, compact lens and I am very pleased with it. But the photographs that I am getting out of the 12-60 appear to have more "life" in them. It is a difficult thing to describe, but the 12-60 photos appear to be more "real".

    I am not a photographic artist. I take photos for my own enjoyment and to remind me of places I have been and things that I have seen. I get more "Wow! I really like that photo!" from the 12-60 than from the 12-40, which generally tends to evoke a "Nice pic!" feeling.

    The other lens which has much the same effect on me is my Canon EF 24-70mm f/2.8 II USM lens that I use on my Canon EOS 6D, which cost me about twice as much.
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by griffljg View Post
    That's a difficult question to answer. The 12-40 is a wonderful, compact lens and I am very pleased with it. But the photographs that I am getting out of the 12-60 appear to have more "life" in them. It is a difficult thing to describe, but the 12-60 photos appear to be more "real".

    I am not a photographic artist. I take photos for my own enjoyment and to remind me of places I have been and things that I have seen. I get more "Wow! I really like that photo!" from the 12-60 than from the 12-40, which generally tends to evoke a "Nice pic!" feeling.
    Exactly!

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    Most of the top 4/3 lenses are still current products with Olympus and Panasonic, and are indeed available new from several Japanese dealers.

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    Chance to grab them before they are gone?

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    The Panasonic/Leica Vario-Elmarit-D 14-50/2.8-3.5*ASPH does not need this feature. There are many good reasons why I love this lens, this is one of them.

    There are a few m4/3 lenses that have minimal software correction. The Zuiko 75mm f/1.8, the Macro-Elmarit-DG 45mm f/2.8 ASPH and the Panasonic LUMIX G Leica DG Nocticron 42.5mm f/1.2 ASPH Power OIS are the ones that I can think of. Coincidentally (or maybe not so coincidentally), those are also among the best m4/3 lenses when it comes to total rendering and sharpness.
    I disagree. It is a wonderful performer, but suffers a small amount of light mustache/barrel distortion at the wide end, a little pincushion distortion at the long end, and varying lateral chromatic aberration throughout the zoom range. Never obnoxious, but always candidates for correction.

    I have maybe 40,000 exposures made with this lens in my photo repository (I had two of them for several years, I used it so much) using the Panasonic L1, Olympus E-1 & E-5, and Panasonic G1. It was a particularly excellent match to the E-1, L1, and G1 as it supplied OIS for these bodies with no IBIS. It's a lovely lens, but it's not perfect.

    (In fact, it's much like the current Leica Vario-Elmarit-SL 24-90/2.8-4 ASPH for the SL in its handling dynamics and overall rendering, although the SL lens is intended for 24x36mm format and has a higher-end build quality. The SL24-90 includes correction parameters injected into the camera which optimizes its performance beautifully; it outperforms most prime lenses in the focal length range.)

    G

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Godfrey View Post
    I disagree. It is a wonderful performer, but suffers a small amount of light mustache/barrel distortion at the wide end, a little pincushion distortion at the long end, and varying lateral chromatic aberration throughout the zoom range. Never obnoxious, but always candidates for correction.

    I have maybe 40,000 exposures made with this lens in my photo repository (I had two of them for several years, I used it so much) using the Panasonic L1, Olympus E-1 & E-5, and Panasonic G1. It was a particularly excellent match to the E-1, L1, and G1 as it supplied OIS for these bodies with no IBIS. It's a lovely lens, but it's not perfect.

    (In fact, it's much like the current Leica Vario-Elmarit-SL 24-90/2.8-4 ASPH for the SL in its handling dynamics and overall rendering, although the SL lens is intended for 24x36mm format and has a higher-end build quality. The SL24-90 includes correction parameters injected into the camera which optimizes its performance beautifully; it outperforms most prime lenses in the focal length range.)

    G
    You are nit picking, Godfrey, and only the fact that you mention this lens and the new, $5,000 24-90mm for the SL in the same post tells something about its qualities

    Yes, of course it isn't perfect, hardly anything is, but it's close enough.

    I actually do consider buying another copy to be on the safe side. This kind of lens confirms that there's goodness in this world (Or should that be Godness?).

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    You are nit picking, Godfrey, and only the fact that you mention this lens and the new, $5,000 24-90mm for the SL in the same post tells something about its qualities

    Yes, of course it isn't perfect, hardly anything is, but it's close enough.

    I actually do consider buying another copy to be on the safe side. This kind of lens confirms that there's goodness in this world (Or should that be Godness?).
    It's exactly those sorts of issues that software correction does the best job with, Jorgen. If you want yo consider it nitpicking to point that out, there's no point to this discussion.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Godfrey View Post
    It's exactly those sorts of issues that software correction does the best job with, Jorgen. If you want yo consider it nitpicking to point that out, there's no point to this discussion.
    I agree, Godfrey. The software correction that I'm skeptical about is when lenses are knowingly made with large amount of distortion to make them smaller to correct the distortion in software, like in the case of the Panasonic 7-14mm and other tiny lenses. I know from experience that this doesn't work well. The images become reasonably sharp, but often flat and uninteresting. The modest corrections of lenses like the PanaLeica 14-50mm are in a totally different class and easy to live with.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    I agree, Godfrey. The software correction that I'm skeptical about is when lenses are knowingly made with large amount of distortion to make them smaller to correct the distortion in software, like in the case of the Panasonic 7-14mm and other tiny lenses. I know from experience that this doesn't work well. The images become reasonably sharp, but often flat and uninteresting. The modest corrections of lenses like the PanaLeica 14-50mm are in a totally different class and easy to live with.
    IN the design of lenses that include mandatory software correction as a part of the design, it is often the case that using a design with more pronounced simple aberrations in place of complex distortions (for instance, 8% barrel distortion instead of 4% mustache distortion) produces better results because the complementary corrections are simpler and less lossy in nature.

    "Flat and uninteresting" sounds like an image processing issue rather than a lens characteristic. I'd much rather have my initial capture rather flat in appearance with lots of data expressing all the variations in the scene to the limits of the sensor that I can then tune to suit my desires rather than having a more contrasty image that has already lost data in various ways. I don't expect that my exposures are exactly the way I want to render them as the lens sees them—I want the choices of what data to keep and what to lose when I do the rendering.

    The biggest negative I see in lenses with software correction complements is when the corrections are poorly done and cause a level of smearing at the edges and corners of the frame. I don't know if this is the problem you're seeing with the Panasonic 7-14. I know it also produces some longitudinal aberrations on Olympus bodies that don't show up on Panasonic bodies ... likely a sensor tuning kind of problem IMO. I haven't heard of this with the Olympus M.Zuiko PRO 7-14mm, or how closely competitive it is on performance against the ZD 7-14/4 ED for FT SLR.

    If you find a lens that produces final quality results to your satisfaction straight out of the camera that's a wonderful thing, and a time saver, but in essence such lenses are generally tossing away some data and limiting editability at least to some degree. This is the joy of using Leica, Zeiss, selected Nikkor, Olympus, Canon, etc lenses: you're preselecting a look and reducing the amount of rendering required, but at the same time you should also recognize that you're losing some measure of editability. In the film era, this was almost an essential thing for high quality results due to the limitations of editability in analog image processing, but with digital image processing there are a lot more options, making lenses that natively provide the rendering if not less desirable perhaps a bit less necessary.

    I have found very little downside to the mFT lenses that were designed for complementary software correction in terms of final image output. I haven't had any experience using the 7-14mm lens either in FT or mFT form, but I'm just as happy with the mFT Summilux-DG 25mm f/1.4 ASPH as I was with the FT Summilux-D 25mm f/1.4 ASPH: the results are as near to identical as I can imagine the word being applicable for. And I am grateful for 1/2 the size and 1/3 the weight of the mFT version.

    Olympus hasn't made an mFT replacement for the 11-22 in terms of quality and rendering yet to do a comparison on; I think that's my favorite FourThirds format lens of all at this point.

    G
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Godfrey View Post
    IN the design of lenses that include mandatory software correction as a part of the design, it is often the case that using a design with more pronounced simple aberrations in place of complex distortions (for instance, 8% barrel distortion instead of 4% mustache distortion) produces better results because the complementary corrections are simpler and less lossy in nature.


    G
    Good point! I like the FE Sony 28/2 for that precise reason. Simple barrel distortion.

    Smaller size and better prices are added bonus.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Godfrey View Post
    IN the design of lenses that include mandatory software correction as a part of the design, it is often the case that using a design with more pronounced simple aberrations in place of complex distortions (for instance, 8% barrel distortion instead of 4% mustache distortion) produces better results because the complementary corrections are simpler and less lossy in nature.

    "Flat and uninteresting" sounds like an image processing issue rather than a lens characteristic. I'd much rather have my initial capture rather flat in appearance with lots of data expressing all the variations in the scene to the limits of the sensor that I can then tune to suit my desires rather than having a more contrasty image that has already lost data in various ways. I don't expect that my exposures are exactly the way I want to render them as the lens sees them—I want the choices of what data to keep and what to lose when I do the rendering.

    The biggest negative I see in lenses with software correction complements is when the corrections are poorly done and cause a level of smearing at the edges and corners of the frame. I don't know if this is the problem you're seeing with the Panasonic 7-14. I know it also produces some longitudinal aberrations on Olympus bodies that don't show up on Panasonic bodies ... likely a sensor tuning kind of problem IMO. I haven't heard of this with the Olympus M.Zuiko PRO 7-14mm, or how closely competitive it is on performance against the ZD 7-14/4 ED for FT SLR.

    If you find a lens that produces final quality results to your satisfaction straight out of the camera that's a wonderful thing, and a time saver, but in essence such lenses are generally tossing away some data and limiting editability at least to some degree. This is the joy of using Leica, Zeiss, selected Nikkor, Olympus, Canon, etc lenses: you're preselecting a look and reducing the amount of rendering required, but at the same time you should also recognize that you're losing some measure of editability. In the film era, this was almost an essential thing for high quality results due to the limitations of editability in analog image processing, but with digital image processing there are a lot more options, making lenses that natively provide the rendering if not less desirable perhaps a bit less necessary.

    I have found very little downside to the mFT lenses that were designed for complementary software correction in terms of final image output. I haven't had any experience using the 7-14mm lens either in FT or mFT form, but I'm just as happy with the mFT Summilux-DG 25mm f/1.4 ASPH as I was with the FT Summilux-D 25mm f/1.4 ASPH: the results are as near to identical as I can imagine the word being applicable for. And I am grateful for 1/2 the size and 1/3 the weight of the mFT version.

    Olympus hasn't made an mFT replacement for the 11-22 in terms of quality and rendering yet to do a comparison on; I think that's my favorite FourThirds format lens of all at this point.

    G
    I get a feeling now that this becomes a question of priorities and to a certain degree photographic style. With all m4/3 cameras that I have used, I have been pretty satisfied with the raw file "out of the box", if the lens renders according to my liking. The PL 14-50 is such a lens. Numerous others are not. This is something we can probably never agree on, since it's a question of how we see photos and our visual priorities. Sometimes, there is no objective truth.

    I agree on the 11-22 btw., and I still don't understand why I sold mine. They are cheap now, so I might buy another one.

    A bit off topic:
    While what I stated above holds water also for the D700, it does not for the D810, or at least not in my case. But that's also the joy with the 36MP monster, the process of making an image that looks totally "flat" out of the camera into something with depth and saturation, not unlike what was possible with the Fuji S3 and S5. Different cameras (and lenses) for different needs, and different moods. I have hopes for a m4/3 camera with similar abilities, but will probably place my bets on Panasonic in this area. Video specific, flat rendering is sometimes very useful for stills, but on the E-M5 II, Olympus only made the option available for video.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    I get a feeling now that this becomes a question of priorities and to a certain degree photographic style. With all m4/3 cameras that I have used, I have been pretty satisfied with the raw file "out of the box", if the lens renders according to my liking. The PL 14-50 is such a lens. Numerous others are not. This is something we can probably never agree on, since it's a question of how we see photos and our visual priorities. Sometimes, there is no objective truth.

    I agree on the 11-22 btw., and I still don't understand why I sold mine. They are cheap now, so I might buy another one.

    A bit off topic:
    While what I stated above holds water also for the D700, it does not for the D810, or at least not in my case. But that's also the joy with the 36MP monster, the process of making an image that looks totally "flat" out of the camera into something with depth and saturation, not unlike what was possible with the Fuji S3 and S5. Different cameras (and lenses) for different needs, and different moods. I have hopes for a m4/3 camera with similar abilities, but will probably place my bets on Panasonic in this area. Video specific, flat rendering is sometimes very useful for stills, but on the E-M5 II, Olympus only made the option available for video.
    Just figure out how to tweak the image settings in camera and produce JPEGs. The E-M1/E-M5 et al have one of the best JPEG engines in the business and have a huge amount of adjustability if you want out of the camera results.

    Raw files require processing ... My setup for the E-5 and E-M1 in LR actually reduces contrast and sharpening as a default to give me a better starting point.

    I had Panasonic Lumix G series cameras for a while. Gave up on the line when they kept adding consumer features that made them clumsier to operate the way I wanted. The Olympus cameras produce more of what I want and are far more configurable to my taste, with more logical menu structure.

    Sadly, much as I like the Nikon F6, the D750 simply didn't appeal to me at all. Clumsy, klutzy, full of buttons and knobs and stuff that just annoy me. The Leica SL came out a month after I got it and works exactly the way I want a camera to work; the D750's been sitting on the shelf since. Anyone want to buy the D750?

    G

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Godfrey View Post
    Just figure out how to tweak the image settings in camera and produce JPEGs. The E-M1/E-M5 et al have one of the best JPEG engines in the business and have a huge amount of adjustability if you want out of the camera results.

    Raw files require processing ... My setup for the E-5 and E-M1 in LR actually reduces contrast and sharpening as a default to give me a better starting point.

    I had Panasonic Lumix G series cameras for a while. Gave up on the line when they kept adding consumer features that made them clumsier to operate the way I wanted. The Olympus cameras produce more of what I want and are far more configurable to my taste, with more logical menu structure.

    Sadly, much as I like the Nikon F6, the D750 simply didn't appeal to me at all. Clumsy, klutzy, full of buttons and knobs and stuff that just annoy me. The Leica SL came out a month after I got it and works exactly the way I want a camera to work; the D750's been sitting on the shelf since. Anyone want to buy the D750?

    G
    The Panasonics to have are the GH3/4, particularly the GH4, although I've heard nice things about the G7. They need to be shot RAW though. I agree that the Olympus cameras seem much more configurable, but the GH3/4 have more buttons and the standard setup, more or less, suits me very well.

    I agree about the D750, I never liked it. Many do though. The little secret in the Nikon range is the tiny, little D5500. It really needs to be shot RAW too, but then it runs circles around any m4/3 camera, particularly when shot in low contrast mode. The viewfinder is a joke though, and ergonomics rather terrible.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    The Panasonics to have are the GH3/4, particularly the GH4, although I've heard nice things about the G7.
    GM1/GM5- cameras that fit the size of the sensor.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Vivek View Post
    GM1/GM5- cameras that fit the size of the sensor.
    There's also the size of fingers to consider. It's a sweet, little camera, but it would have been much better if my fingers where smaller. I guess my parents didn't think about tiny, little cameras when I was designed

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    Re: 4/3 lenses on m4/3





    Lens: OLYMPUS 7-14mm Lens Shot at 14 mm
    Exposure: Manual exposure, Aperture priority AE, 1/100 sec, f/8, ISO 200, Compensation: -0.3
    Bart ...
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    Re: 4/3 lenses on m4/3

    first full size, second crop 100%





    Lens: OLYMPUS 7-14mm Lens Shot at 14 mm
    Exposure: Auto exposure, Aperture priority AE, 1/125 sec, f/5.6, ISO 200
    Bart ...
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    Re: 4/3 lenses on m4/3

    Thanks Bart. Terrific images.
    I assume these are shot with the 7-14/4 and not with the 7-14/2.8 PRO, correct?
    If so, how would those two lenses compare? TIA.
    I noticed the 7-14/4 for DSLRs is quite a bit more expensive.
    With best regards, K-H.
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    Re: 4/3 lenses on m4/3

    Coming in late into the conversation, I have some "purposely" bought 4/3 lenses to use on my E-M1. The 50-200 non ED and a EC-14 works wonders on my E-M1 and was the only faster aperture tele zoom lens available prior to the 40-150 2.8 pro and the 300 pro. AF with 4/3 lenses is nearly as good as m43, and focus tracking for moving subjects has a high success rate.

    The other lens I have is the 40-150 f3.5-4.5. It is half a stop faster than the than the mzuiko ED and the Digital Zuiko version and sports outstanding image quality even with the EC-14 combo. What I like about this little zoom lens is it's size.
    Last edited by mazor; 30th May 2016 at 22:44.
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by k-hawinkler View Post
    I noticed the 7-14/4 for DSLRs is quite a bit more expensive.
    At current used prices, the 4/3 7-14/4 is actually considerably cheaper than the m4/3 7-14/2.8.
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    At current used prices, the 4/3 7-14/4 is actually considerably cheaper than the m4/3 7-14/2.8.
    ... exactly one of the reasons for me buying the 4/3 7-14/4
    But then I still had to get that adapter ...
    However, even compared to grey-import prices overall still a 'cheaper' deal

    Kind regards.
    Bart ...
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by k-hawinkler View Post
    Thanks Bart. Terrific images.
    I assume these are shot with the 7-14/4 and not with the 7-14/2.8 PRO, correct?
    If so, how would those two lenses compare? TIA.
    I noticed the 7-14/4 for DSLRs is quite a bit more expensive.
    Hi there K-H,

    yes, this is the 4/3 lens and honestly I've no clue how it fares against the m4/3 latest and greatest, but I do know I'm pretty impressed what it does.
    New it is (probably?) more expensive, but there are excellent s/h copies to be found for reasonable prices.
    I guess AF is a bit slower (but so am I) and hunts a little at times.

    Kind regards.
    Bart ...
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Knorp View Post
    ... exactly one of the reasons for me buying the 4/3 7-14/4
    But then I still had to get that adapter ...
    However, even compared to grey-import prices overall still a 'cheaper' deal

    Kind regards.
    I had my adapter for many years and luckily never sold it, the Panasonic not weatherproof version. For a while, I considered buying one adapter per lens, but I've found that I'll let the adapter sit permanently on the E-M1 and use other m4/3 bodies for m4/3 lenses when I buy one or more of those. At the moment, I've only planned to buy the 75mm f/1.8.
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    Re: 4/3 lenses on m4/3

    Not yet another one ...



    Bart ...

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    Re: 4/3 lenses on m4/3

    E-M1 with PanaLeica 14-50mm f/2.8-3.0 @ 50mm and f/3.5

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Jorgen Udvang View Post
    I had my adapter for many years and luckily never sold it, the Panasonic not weatherproof version. For a while, I considered buying one adapter per lens, but I've found that I'll let the adapter sit permanently on the E-M1 and use other m4/3 bodies for m4/3 lenses when I buy one or more of those. At the moment, I've only planned to buy the 75mm f/1.8.
    I remember seeing great pictures you took with that 75mm F1.8.. From my experience with the E-M5 and E-M5II it can be very prone to shutter shock at some speeds I often wanted to use. The silent electronic first curtain shutter happily took care if that after a while (E-M5II is OK and the E-M5 got it too through firmware update, if I remember correctly, but for a long time I used the 1/8th second shutter delay to take care of it). What this means is that you will have to choose your second MFT body carefully : I don't know Panasonic bodies very well, but I remember reading that some of the lighter bodies were exhibiting that problem too.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Annna T View Post
    I remember seeing great pictures you took with that 75mm F1.8.. From my experience with the E-M5 and E-M5II it can be very prone to shutter shock at some speeds I often wanted to use. The silent electronic first curtain shutter happily took care if that after a while (E-M5II is OK and the E-M5 got it too through firmware update, if I remember correctly, but for a long time I used the 1/8th second shutter delay to take care of it). What this means is that you will have to choose your second MFT body carefully : I don't know Panasonic bodies very well, but I remember reading that some of the lighter bodies were exhibiting that problem too.
    I used the 75mm on the GH2 and the GH3. The GH3 is a substantial body and one of the best that I have used. It will be interesting to see what the GH5 will be like. If it features phase detect AF, I'm very interested.

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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Annna T View Post
    I remember seeing great pictures you took with that 75mm F1.8.. From my experience with the E-M5 and E-M5II it can be very prone to shutter shock at some speeds I often wanted to use. The silent electronic first curtain shutter happily took care if that after a while (E-M5II is OK and the E-M5 got it too through firmware update, if I remember correctly, but for a long time I used the 1/8th second shutter delay to take care of it). What this means is that you will have to choose your second MFT body carefully : I don't know Panasonic bodies very well, but I remember reading that some of the lighter bodies were exhibiting that problem too.
    The 75/1.8 is a lovely lens, I bought one as soon as it became available. I've never seen any evidence of "shutter shock" with it on the E-M1 in my use, even before the EFC option was implemented.

    Different body, different shutter...

    G

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    Re: 4/3 lenses on m4/3

    The 75 is one of my favorite m43 lenses. Razor sharp and fast!

    Never had any issues with it on the EM1.

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    Re: 4/3 lenses on m4/3

    E-M1 with PanaLeica 14-50mm f/2.8-3.5 @ 50mm and f/5

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    Re: 4/3 lenses on m4/3

    Bart ...
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    Re: 4/3 lenses on m4/3

    Bart ...
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    Re: 4/3 lenses on m4/3

    Bart ...
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    Re: 4/3 lenses on m4/3

    Bart : this biker is the icing on the cake.. well timed
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    Re: 4/3 lenses on m4/3

    Quote Originally Posted by Annna T View Post
    Bart : this biker is the icing on the cake.. well timed
    Thank you, Anna ! Exactly what I thought too

    Kind regards.
    Bart ...

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    Re: 4/3 lenses on m4/3

    Industrial views ...







    Bart ...
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    Re: 4/3 lenses on m4/3

    Bart : I like your industrial shots. Nice study. Especially the second and fourth.
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