jonpais

It's been known for some time that Olympus is planning to release a 45mm f/1.2 lens, now I just learned from 43rumors they're working on a 12mm f/1.2 lens as well... but I'm not about to part with my Leicas just yet. ? Some random observations: Many over at 43rumors consider these f/1.2 lenses from PL and Oly to be niche products, preferring instead that Oly release some new f/2 primes or even just different focal lengths from those already available from Panny and third party manufacturers. A few even anticipate the announced Oly lenses to outperform the PLs, but intuition tells me that they will perform better in some categories, worse in others, and that the deciding factor may in the end come down to pricing. Regarding image quality, I still maintain that premium glass will make an impression as much as or greater than upgrading cameras each year, and like @Fritz Pierre, once I purchase a lens, I seldom let it go. As far as 'future proofing' your lens collection goes, the growing roster of manufacturers joining the m43 consortium only increases with each passing year, from JVC, with their LS300 to DJI and Blackmagic; and Veydra's Mini Primes, from 19mm onward, can cover a super 35 sensor. But for me, the greatest surprise was just how much better clips look on my new 5K monitor, concerning both resolution and color rendition: without exaggeration, a difference ten times more noticeable than say, when I used to pixel peep the Fuji X-T2 and G85 on my older 2013 iMac, or even on my 2016 MacBook Pro.

Remember, Emanuel - don't delete any posts unless they contain death threats or golf balls. That's rule #1 in the handbook. ?

You can label me, point the finger at me, whatever you like - but I'm not the only one here with the launch codes. Spare us your drama.

The long email exchange I posted above - well, the fellow finally put me in touch with his assistant, and while they don't have the Veydra 12mm, she said they could sell the 25mm and 50mm primes for $900 a piece, an astronomical savings over what the shop in Hong Kong quoted me - $3,642.00 USD for the set of three - and half the price of the budget Rokinon Xeens. Flights from Saigon to Kuala Lumpur run as little as $80 R/T, so I'll be picking up the lenses in 1-/12 weeks.

Countless corporations have been sued by employees for unfair labor practices, including Coca Cola, UPS and the list goes on and on and on. So why single B&H out? Is there an ulterior motive at work here? According to what I've read, if B&H fails to change hiring practices and working conditions, the Office of Federal Compliance Programs will request the cancellation of the store’s contracts with the federal government, amounting to some $46 million in lost revenue. A boycott would be misguided and could only harm the employees: the threat of losing lucrative government contracts should be inducement enough for B&H to change. You may agree or disagree if you like, but in no way would any reasonable person interpret my thoughts or actions as being racist or defending racism, as Ed is so fond of repeating ad nauseum. He is so sure Trump is a white supremacist, just as he was certain that Blackmagic knowingly and intentionally released a faulty camera. And while I personally have never shopped at their brick and mortar store, I refuse to believe that if there was indeed discrimination at B&H, that this reflects on the vast majority of the store's staff, whom I imagine are decent human beings, but only on a select few. Incidentally, Ed's first and subsequent posts all but accuse me of racism, which is a wee tiny bit more obnoxious than anything I've leveled at him. Meanwhile, if Ed suggests boycotting B&H, but continues to purchase thousands of dollars of merchandise from them each year as he does, that's pretty much the height of hypocrisy. I really don't care though, because for all I know, I'm arguing with a sockpuppet.

Really nice tutorial, Angelo!

@Ed_David First of all, you started this thread with the express purpose of launching a personal attack against me, then go crying like a school girl just because I happen to approve of some of the comments questioning your motives. You're the one buying from B&H, not me, so like you said yourself, that does make you a hypocrite. @User sized you up pretty well when he remarked, His unfailing politeness which has won your favour in this particular situation is a cheap mask that he employs when it serves him. I'll be sure to shed a tear when you are on the receiving end of one of his unwarranted hissy fits. Why don't you take your self righteous, self-pitying act somewhere else?

Here's a much more detailed procedure for removing lens fungus. He also recommends listening to Charlie Haden’s Tokyo Adagio album or Alan Broadbent’s Blue in Green while working.

Not wanting to blow my beer budget on a set of Veydras from Hong Kong, I got in touch with an authorized seller in Malaysia. Here's the email exchange: 6:22AM: Hi, Do you sell Veydra mini primes m43? I am looking for a set: the 12, 25 and 50. Thank you! Jon 10:19AM: hi where r u from. stephen 10:31AM: I live in Vietnam 1:30PM: Hi Stephen, Do you sell Veydra? 2:19PM: yes i do . i send a qoute in usd ? stephen 2:31PM: Sure, I need a set of three: the 12, 25 and 50mm mft mount 5:39PM: Hi Stephen, Can you send me a quote, please? 6:17PM: Ok.imsend now 10:11PM: ?

I'd never heard of these before, they seem to have gotten tons of good reviews over at Amazon, but... lenses are best kept at a constant 35-45 degrees humidity, and unless you're using a humidity sensor, you've got no way of knowing if the levels are safe or not. Also, these types of dessicants must be restored from time to time, and if you've got a large collection of lenses, it can be a hassle. I know many use these types of products, but they're not as reliable as a dry box, and they don't solve the storage problem. One of my dry cabinets is 50 liters, the interior can be illuminated and it uses a negligible amount of electricity. It keeps my lenses at a constant 40 degrees humidity, requires no upkeep, and cost only something like $114.00 USD.

There are hundreds of tutorials online, like this one: This is as good a time as any to remind forum members that an ounce of prevention... I've got a dozen or so lenses, and the humidity here in SE Asia is especially favorable for lens fungus (though it's done wonders for my dermatitus!). A collection of lenses can quickly add up to $10,000 or more, so I recommend to anyone living in humid climes to invest a couple hundred dollars in a good dry cabinet. I know some photographers try to cut corners using a dessicant like silica gel, but a dry cabinet requires less maintainance, it keeps your equipment at a constant humidity, and it is also just a tidy way to store your lenses.

Yes, there was some heavy distortion in the RAW files for sure. Focal lengths, aperture and APD Since I'll be heading to Hong Kong to pick up the Laowa 7,5mm f/2 for MFT (sorry, Panasonic. or maybe, sorry me!), I was interested in another lens made by Venus Optics, the Laowa 105mm f/2 (T3.2) APD. APD means apodization, which is supposed to make the out of focus areas, or bokeh, smoother, softer, more pleasing. Sony, Fuji and probably some other manufacturers have also come out with APD lenses, some of which cost a small fortune. According to at least one reviewer of the Fuji 56mm f/1.2 APD lens, the apodization is really most noticeable wide open, so if you're trying to decide between the 'normal' Fuji 56mm and the APD version, that'd be something to consider. The Laowa has been described as pin sharp from wide open, it's got all metal construction, and it's completely manual. Jason Lanier did a test of the lens, and while the bokeh is undeniably beautiful, he points out that it takes at least two or three twists of the focus ring to go from nearest to farthest focus, and the ring is a bit stiff, so it's probably less than ideal for filmmaking. As far as bokeh-challenged m4/3 goes, many viewers of my YT channel have expressed interest in the Leica 42.5mm f/1.2, but even though you've got to step back somewhat to use it, I'd still recommend the Olympus 75mm f/1.8 any day of the week for shooting portraiture, as it's much easier to get bokeh-licious shots with a longer focal length than with a faster, shorter lens. And since, with an adapter, the Laowa 105mm would come out to around the same focal length as the Olympus 75mm, I guess I'll hold onto my money.

Beautiful work, Josh!

LensTip, after publishing their first sample images a couple of months ago, finally shares the results of their test of the Leica 8-18mm f/2.8-4, findings that won't surprise anyone who already owns the lens one iota.

Our drinking water is turning the frogs gay.

I almost bit the bullet on a set of three Veydras from a shop in Hong Kong, but even though the lenses are manufactured in China, and many mainlanders shop in Hong Kong because prices are lower, the retailer I spoke with was asking $700-$1,000 more than B&H, so now I'm looking at an authorized dealer in Malaysia. It's difficult to justify spending nearly $4,000 for something that is just a hobby, nothing more - especially as I haven't even shot a single narrative in my life. Compared to some other cine modded lenses, the Veydras have consistent filter thread and outer diameter sizes, making changing lenses when working with a follow focus and matte box simpler. And a matte box will probably be necessary, as the Veydras' work against bright light is not exemplary. Nice Lady Productions did a comparison, shooting with and without a matte box with cine lenses, and color saturation and contrast were strikingly better with. The Veydras also have user interchangeable mounts, so from the 19mm T2.2 and up, they can be used with cameras like the JVC LS300, the Fuji X-T2 and the Sony E mount cameras, as well as with the upcoming Panasonic EVA2. ? And at $1,000, they cost 1/4 the price of many other cine lenses. I will still be flying to Hong Kong to pick up the Laowa, which is $100 cheaper than buying from B&H. The Samyang/Rokinon 12mm f/2 has many adherents if you're looking for an inexpensive wide angle. I was really only able to appreciate the Leica 12mm for the very first time when I watched some clips on my new 5K iMac a couple days ago. And not only the extra resolution, but the colors are far truer on the new machine, especially skin tones. These eGPUs which can dramatically improve the performance of the recent MacBooks running High Sierra are simply incredible, but I still believe the extra screen real estate of a 27" desktop should be considered the absolute minimum unless you've got no choice but to edit out in the field. However, I still often edit on my Macbook and do color correction at home on the iMac simply because I can't stand being cooped up at home.

A tripod and a fluid head can work wonders.

I can say, having just unboxed my new 5K iMac and being able to view clips that I've been shooting for years in 4K for the very first time is nothing short of amazing as far as detail goes. The colors are truer on the new iMac as well. So for hobbyists like me, who just shoot for their own enjoyment, I'm liking it. Curiously, when viewing my clips on YouTube with Safari, the highest resolution available is 1440p. @jcs Or are the clips I've shot with the GH4 and G85 really 1080p? I'm so confused.

My nephew introduced me to Eminem and D12 around twelve years ago. The HBO documentary The Defiant Ones sparked my interest in films about hip hop music.

Funny you bring that up now, Glenn, because after finishing watching Straight Outta Compton, I had to see which lenses were used. Quite a few, as it turns out. From Shotonwhat: Lenses | Angenieux Optimo Anamorphic Lenses, Angenieux Optimo Zoom Lenses, Cooke Anamorphic/i Lenses, Fujinon Alura Lenses, Kowa Cine Prominar Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Super Speed Lenses As shooters, we can immediately tell which scenes were shot with anamorphic, which with spherical lenses, but the ordinary audience probably wouldn't.

i posted this already in the lenses thread, but it shows just how good Cinelike D is, even in mixed lighting situations. These clips are straight out of the camera, no color correction.

I have the Olympus 75mm f/1.8 and a G85 and there's no play whatsoever.

What exactly are you doing to make the lens jiggle? Did the salesmen also acknowledge that there was play between the lenses and the camera bodies? Were the lenses and bodies new or used? Was the G85 your own or the shop's? Do you own other Panasonic bodies and lenses? Did you compare to the Panasonic 12-35? When you attached the lenses, did you twist them until they locked? Are you absolutely certain that what you were experiencing wasn't the sensor moving?

Are you sitting on the lenses or just resting your elbow on them?

@vulgatron Most interviews I've seen maintain one or at most two focal lengths throughout the interview, and usually they're not shot with a wide angle zoom. Also, I don't think an AF lens is necessary at all for an interview, in fact, it's a negative in my opinion. I would go with a longer focal length, preferably a prime lens. Personally, if you absolutely needed to go AF, I'd go with a modestly priced Panasonic 42.5mm f/1.7. If you've got the budget for a two-camera setup, you can get the Sigma 30mm f/1.4 DC DN. The longer focal length will produce much more pleasing perspective and out of focus backgrounds. Total cost for the two lenses will be equal to or less than the cost of one 12-40mm or 12-35mm zoom.