MrSMW

It’s been my main workhorse in 2021 with my S1H. However, I am probably moving it over to stills photography on the S1R in 2022 and then going with the even tinier, new 18-50mm f2.8 APSC only, but that’s fine as I shoot 4k 50p anyway which is of course cropped. Not 100% decided on this set up but it does give me the best compromise of the best S1 bodies (S1R stills, S1H video) paired with the fastest and smallest zoom lenses, covering basically 28-70 in each case. However, I am in love with my 35mm f2 and 65mm f2 pairing… In my ideal world, Panny would produce for me the equivalent of the S1R merged with the S1H in an S5 sized body and I could go matched bodies…in which case I’d jump on their native 24/35/50/85mm f1.8 line up without question and shoot the 24 + 50 pairing indoor and the 35 + 85 pairing outdoor. But I’m dreaming a bit there… Character? Modern lenses don’t really have ‘character’ as such but are more clinically ‘good’/sharp. I’m just happy with a nice clean image to be honest and all the Sigma lenses deliver that. The 24-105mm f4 is great, the IS superb, but to me, it’s just about tolerable when not extended, but when zoomed out, too much. I have used it for work purposes a couple of times, stills and video and it’s arguably the best all round lens for hybrid, but I am not keen on it’s size. For travel and landscape however, it’s my go to. I just want one body one lens and it’s a good compromise of wide enough angle, but much more reach than a 24-70. But back to the Sigma 28-70mm f2.8, I think it’s a fabulous compromise option and prefer it over any full size 24-70mm due to it’s much more compact size with no real world loss of image quality. In short, it gets out of the way. I’m looking forward to that even tinier 18-50 which I suspect for video work I will like even more and paired with the so-called ‘massive’ (it isn’t) S1H, will make a superb and pretty compact pairing with great 27-75mm equivalent range.

I should try mine again as it’s a good S35 focal range of 30-90. It’s mainly the variable aperture I don’t like however. This one I wish they had made f4. And had OIS to pair with the IBIS. But then it would be 50% bigger and heavier and probably twice the price so I can see why they didn’t… It’s a good ‘kit’ lens though and a great walk about daylight option. I use it as my wide stills option being 20mm full frame.

@bjohn have you tried a 1/8th black mist on it? I find that takes some of that digital look away in terms of both perceived sharpness and contrast. The rest in post. I still have thoughts about getting one again but it’s a little too wide, a little too short, a little too big and probably a little bit shit for the AF requirement I have, so the Sigma 28-70mm f2.8 it is! For now… My main gripe with zooms though is the way they extend. There are some, but very few good internal zooming zoom lenses. I think Canon’s RF 28-70 f2 does as does Fuji’s brilliant 50-140 f2.8, but I wish the Lumix’s did. The Siggy 28-70 doesn’t extend much. Also intriguing is that new APSC only Sigma 18-50…

That was my workhorse on Fuji APSC but I found the opposite and it was superb, albeit a little heavy. It's a pity Sigma never (at least to date anyway) updated it or it's 50-100 brother as both f1.8...well say no more!

A very timely post Kye as I have just been wrestling myself with what kit I am taking into my Spring 2022 season now that my (what there was of it, 6 weeks in total) 2021 is one month past finished. 4 bodies I wish to reduce to 2 and whether that means zoom lenses will be coming back full-time... I've decided to keep my S1R for stills. That's a no-brainer. I've decided to keep the S1H for video. That's a no-brainer. Being honest, I'd trade both for a single Nikon Z9 without even thinking about it now I've read up on the thing, but that's a different topic of conversation... That means both S5's are going. Not as good at stills and not as good at video, IBIS isn't as good, nor is the build or ergos or screens or anything. GREAT cameras in isolation, but not as good as their big brothers and I have no use for 4 bodies. Which makes lens choice even more important. In an ideal world, I'd have 2 matched bodies, but that could not be a pair of S1R's or S1H's or S5's so for now at least, need to remain a dedicated stills and a dedicated video rather than the pure hybrid I'd ideally like. With a pair of matched hybrids, I could easily shoot say 24 + 50 indoros and 35 + 85 out which would be my ideal (and also happens to coincide with Panny's own f1.8 line up). But as that can't happen and as much as I like the theoretical concept of a single focal length and that's it, the reality is for weddings, it is not 100% ideal. So zoom's it is. I've got the Sigma 28-70mm f2.8 and that is going to live on the S1H for the 2022 season as 4k 50p, in S35 mode (the only option), it's like shooting a 42mm and a 105mm prime and as my 2 'ideal' focal lengths for video are 50 and 100, it's very very close. For stills, it has to be the Lumix 24-105mm f4 'kit' zoom. It's bigger than I'd like and I'd prefer it to be f2.8...but then it would be even bigger, but the reality is it's just a damn good lens and like a bag of (f4) primes in one single unit; 24, 35, 50, 85 and 105. In terms of shallow DOF (which I have liked for over 20 years), OK, it's not great at the wider end, but at the longer, actually, not bad at all and as Kye points out, for us Panny users, we can get all the AF help we can get and the 24-105 is one of the fastest focusers on the L Mount system. Finally, it means when shooting these 2 combos side by side, the focal lengths are fairly similar being 42-105 video vs 24-105 stills which for a hybrid shooter like me who wants to keep a certain level of consistency between the two mediums as close as possible, is a good thing. However, one day, I would prefer an all prime system and maybe that will happen in 2023...but that is too far into the future now so I'm just going to run what I brung 🙂

I had the MKii version and really liked that. I still have thoughts sometimes about EM1iii’s as an entire system, but coming from Fuji APSC to Panny FF and S1R with 47mp, the reality is I could only go ‘back’ as far as APSC. My use case doesn’t need IBIS which is another reason why the ZV1 works so well as it’s hot shoe mounted on an S1H which itself is on a tripod! The ZV1 is simply pulling real time back up duty for insurance purposes during wedding ceremonies and speeches should the S1H pack in or something. Actually, from the last 2 weddings, I’ve actually used the ZV1 footage instead of the S1H capture. For this aspect of what I do, I am actually contemplating just doing this all the time as after all, it’s the same sensor as the camcorder I was using for the last 5+ years… But then the ‘insurance’ ceases to exist…

Specific use case for me John with trustworthy AF a must. I would rather it was not a Sony but I can’t find another camera that exists that meets my specific need which is as a faultless (or as near as) 4K 25p, unlimited recording limit, powered off a power bank, that sits on the hotshoe of the main camera as backup. The ZV1 is ridiculously good in that capacity. As you say, something like the GX85 I’d need to work around…and that would defeat the point of it’s specific purpose as a tool for my needs! But as a personal/fun camera, I’m still debating that one… I tried and did not like the ZV1 for anything but the role I purchased it for. Heart says either a GX85 with fast prime or X100V. Head says in 2022, trade the iPhone 8 for something better. I suspect the head is going to win this one…

I really fancy a GX85 now 🤔 If I was to do it, it would be to replace my Sony ZV1. But the thing is, the purpose I use the little Sony for is the one thing no Panny camera has and that is exceptional AF 🤪 Damn, I guess I can't do it then...

It’s a weird one for sure…

I use Freewell VND 2-5 stop filters based on various comparison reviews. Video only but have used them occasionally with primes wide open on bright days. Not noticed anything colour cast-wise I am unhappy with. Or even notice.

As a photographer, this is the bit I’m not sure about, at least yet… All my previous experience of e:shutter only for stills is it’s nowhere near enough to shoot weddings. Not seen or read a single review of this camera yet so will be intrigued to see just how this works for photographers.

Just seen Zach Mayfield’s initial review on Kinotika and I love it’s size…but as is always the case with these things, I am always in a minority that I don’t want a wide angle, but a mild telephoto version. 50mm equivalent and I might be interested…

When I say “if I wasn’t a pro”, I really do mean me personally as in everything & anything I do that is not paid, I never use my ‘work cameras’ but instead, much prefer to use smaller & lighter stuff. Sony ZV1 is my current ‘personal’ camera and even that doesn’t get much use next to the iPhone 8 and that is far from cutting edge these days. I think next year I am going to trade both and combine for the first time properly, phone, stills, video, all in one single unit. But as above, this is not me ‘advising’ anyone else, just stating personal use/opinion and that’s not going to be for everyone for sure 🙂

Panasonic/L Mount, in my opinion as a pro user is as follows: Stills photography. Zero issues. Very quick. There are others that are quicker but for 99% of people 99% of the time, it’s quick enough. If that is not the case for ‘you’, then there is either a fault with the camera or lens or with you. General video; tracking people moving side to side, near zero issues. Tracking AF towards or away from. THIS is where it falls down. Not all the time, but enough of the time to not be able to trust it fully. In order to get the best result, you ideally need a native lens and tweaked AF settings, but even then… However, if I was not a pro, I probably would not go any further than APSC Fuji, Sony or Canon. And possibly even not beyond a high end compact. Or even one of the latest phones…

Sony ZV1 for me. For now.

Indeed and one of the most overlooked…if not the most overlooked aspects for those seeking improvement in their photography or filmmaking.

True and ‘The Compromise’ with that option. Tried it. Hated it. I’ve got a camera on each hip and the sheer bulk/awkwardness just didn’t work for me. Also, on freestanding monopod, the S5 plus lens I can trust, but the S1H is literally tipping the balance. On that basis I wouldn’t trust a Z6 plus external recorder with battery. Internal recording is a must for me shooting hybrid and juggling 3 cameras as a one man band. I do like Nikon and shot the system (film and then DSLR) for 10 years prior to Fuji and nearly went Z6 instead of L Mount approximately 1 year ago.

1x static video on tripod (ceremony, speeches, entrances & exits) 1x roving video on monopod or handheld 1x roving stills handheld Simples 🙂

As do I. For anyone non-pro, then fair enough, but for work... I like the capability of having one body that can do either job equally well and one of my three bodies (the S5), I do use that way, but the other two I dedicate to stills (S1R) and video (S1H), though each can do the others job almost as well. I also could not do with mixing brands etc.

It depends on your needs... Mine as primarily a hybrid wedding photographer are quality of image + reliability. I actually need 3 bodies to do my job and I always stick to one brand for consistency. I also have a requirement each camera can do the others job as 'insurance' should one go down. Without taking lenses into the equation, but are just as much a part of the whole, I personally, right now, clean sheet of paper, would go: 1: Canon R5 stills, R6 video. Bodies are a bit plasticky, but otherwise, for hybrid weddings, I think I'd be hard pushed to beat this combo. 2: Fuji GFX50Sii stills, XT4 video. I came from Fuji and know their video is good, their AF good enough and the stills I think are still the best. Just. 3: Panasonic S1R stills, S1H video. Where I am right now and not unhappy. Bodies maybe a tad large/heavy, but nothing that really bothers me. Only real weak element is the less than stellar tracking AF. 4: Nikon Z7ii stills, Z6ii video. Great all-rounders though possibly the weakest video spec? Great image though. 5: Sony A7iv stills, A7Siii video. Just don't interest me but if I had to, these would be the sweet spot from Sony for me. Very sticky AF but other than that, beyond the YouTube hype, do they really offer more things to more people? I'm not sure...

If I was starting with a clean sheet, for my specific needs, Sony would still only be my 5th choice behind: Canon (never thought I’d say that) Fuji (I miss Fuji, especially for stills) L Mount (where I currently am and no regrets as such) Nikon (I could easily shoot the 6/7 system) Sony (doesn’t tick as many boxes as the others above) But for some, many even, I’m sure the IV and Sony in general is good for them.

No idea, my S1R is for stills only!

How many seconds do you get to comply?

If I was mainly photo the S1R would be the way to go. They sell for less that the S1s and S5s on the second hand market Moving from Fuji XT3, there was and is a definite ‘upgrade’ from APSC to FF, but it’s not especially big and no viewer would notice. The 24mp FF sensor is maybe 10-15% better IMO in low light and back lit situations compared with Fuji’s 26mp crop sensor, but I’d say Fuji’s colour is better by a small margin, so swings and roundabouts as they say. But the jump from 24 to 47mp is much more noticeable. Again, it’s not anything that anyone would really notice on-line or on social media etc, but it’s very noticeable to yourself and if you care about such things as I do… The colour is also better from the 47mp sensor. I have not seen anyone mention that one but IMO, it’s not just the improved resolution, but there’s something in this 47mp sensor wherever it’s coming from…and that seems to be a bit of a mystery except it’s probably the same as the Leica SL2 and Q2 but with some slightly thinner piece of glass/a layer with the Leica version? And it’s not the Goliath unit some folks make it out to be… Maybe with the 50mm f1.4 I am leaning towards, but we’ll see next year. @IronFilm I’m sticking with my original Go for now as the combo with the lav mics & Sony recorders has been working mostly OK this year and it’s more a case of having backups due to others muppetry!

I have considered all of the 1.8’s and have the 85, but went with the f2 Sigmas instead. If I do switch to the 50 it would be the f1.4 for that extra stop of low light capability ie, f2 to f1.8 is not worth it. To me. Plus it’s supposed to have a bit of magic in the quality/rendering department and that is the most important factor to me. The Sigma 65mm f2 is just stellar though… Possibly a tad tight in some indoor scenarios…but I have the 35 version for that so not a problem and then it does have that little bit more reach than a 50, but without having to go as tight as 85. I like ‘willfully different’ and shooting primarily 65 is just that. I have all Winter and early Spring to decide though so not in any rush or doing anything until after that time so we will see. I’ve read so many times in so many places about how 24mp is enough for social photography but you know what, when you’ve tasted 47, 24 is never going to cut it again. There is a real and significant difference. I hummed and hawed for so long over whether to go S1R or Leica SL2 or just stick with 24mp, but eyes opened and at 1500 euros, insane value.