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I bought a reconditioned 12-100 f4 and sold my 12-40 and ZD 12-60 SWD. I passed on the Pana 12-60 and the Leica 12-60, because I felt that stopping at 60 would just result in me wishing I had a longer lens. I would still end up taking my 40-150 R along. I figure the 12-100 would cover what two lenses would cover and mean less lens changing. I felt that was my best strategy. I own both and the PL is a wonderful lens and noticeably better in most regards compared to the Panny version. Sharpness and micro-contrast are better, and build quality is far better. If you will use it for a good portion of your photography, I would say the price difference is worth it. If it's more of a once in a while or travel lens, then it gets a little more difficult of a decision. The PL is also bigger and heavier. I use the Panny version on my GM5 due to the light weight and smaller overall size. quote]Well, I've just uploaded all the revised technical info for the replacement lens, so hopefu
still keeps the distortion well under control, measuring +0.0518% pincushion. CA is virtually non-existent, again as before. The bokeh of the lens is perhaps slightly fussy, but it is not surprising with just 7 diaphragm blades. It is certainly not unpleasant and the slightly softer telephoto images will lens themselves well to giving pleasing out of focus areas. This could be where the portrait photographers will find some highly effective effects. The Pana-Leica remains a little taller than its sibling no matter if the zoom is retracted or extended. The Pana-Leica is also the heavier of the two by just over 100g, which can make a difference after a long day of shooting. I have to say that for what you are planning to use your camera on the Olympus might be a better option. I’ve always loved the Lumix G9 but the Olympus bodies do have considerably better Image Stabilization. When shooting under the dark forest canopies this could be an advantage. If you are looking for something a bit larger for better handling with a heaver lens I would suggest the Olympus E-M1X. It’ defiantly larger but not a lot heavier. Both zooms have a variable aperture: 2.8 to 4 on the Pana-Leica and 3.5 to 5.6 on the Lumix. This means that the former is slightly more versatile in low-light situations and can create more shallow depth of field when set to the same focal length as the Lumix.
Panasonic 12-60mm f/3.5-5.6 ASPH POWER OIS LUMIX G VARIO User Reviews
So, for now at least, Panasonic seem to have the only MFT lens in its class. For more options have a look at the Top 7 Best Panasonic Lenses. Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Asph. Verdict Both of these lenses are terrific new additions to the world of Micro Four Thirds lens choices. For me, the 12-60mm has become my go-to lens for almost all my travel photography, now coupled with the new Leica 8-18. The super wide 8-18mm allows for a considerably wider views of interiors I often shoot in Europe. But overall, during our last trips that included Croatia, Slovenia, and France, almost 95% of all my pictures were taken with the Leica 12-60mm F/2.8-4. Whether you decide to buy the Leica or the Olympus, it will most likely depend on how light you want to go since the Leica is a bit lighter than the Olympus. I’ve carried both and I will admit that I feel the Olympus more when it’s on a camera hanging from my shoulder. You could make the argument that having that additional reach of the Olympus’ 100mm (200mm equivalent) that you have a perfect combination when pairing it with the Leica 100-400mm. But I’ve found I don’t miss the additional 80mm, and giving that up for the lighter weight and bulk seems a worthwhile trade off. Panasonic Lumix G 12-60 mm f/3.5-5.6 ASPH POWER OIS @ 60 mm f/11 Conclusion Review Panasonic Lumix G 12-60 mm f/3.5-5.6 ASPH POWER OIS Pros
What I am baffled by is the justification of such a below par offering. To say that its poor long end performance would be useful for portrait photographers is like saying that a lens with heavy pincushion distortion would be handy for architectural photographers of medieval buildings where settlement had caused barreling of the window and door frames.Would choosing the Zuiko 12-100, f: 4.0 zoom make a very heavy and unbalanced set with the DC-GX9 camera? Minimum focusing distance is a usefully close 0.2m (0.66 feet) at the widest angle and 0.25m (0.82 feet) at the longest. The magnifications are 0.27x and 0.54x respectively.
The Panasonic Lumix 12-60 mm f/3.5-5.6 ASPH POWER OIS has it all. With that, the lens selection for micro-43 cameras is practically just as complete (although I’m still missing a tilt-shift) as the lens selection for SLR cameras. Panasonic Lumix G 12-60 mm f/3.5-5.6 ASPH POWER OIS list price: 450 euros. At first I was tempted by the Leica, but then I thought about what I wrote above. I won't say I'll never trade up, but I do not see a rational justification for it. It will be a matter of "lens lust," not need. Panasonic Lumix 12-60 mm is a perfect partner for a GX8 or GX80 and is not a bad choice on a Panasonic GH4 or an Olympus camera. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are not really a problem with this lens at either end of the focal range.
The Panasonic 12-60 mm complements the other Panasonic standard zooms. Anyone who wants to have a compact and inexpensive kit lens has a great choice with the Panasonic 12-32 mm. This mini zoom lens has built-in image stabilization and good build and image quality. The Panasonic 12-35 mm f/2.8 is better in terms of build and image quality. This zoom lens is not only extra-well sealed against dust and splashwater, it is also brighter. Unfortunately, the brightness also increases the price. At all focal lengths, the highest center sharpness is reached after stopping down 1 stop. The sharpness in the corners increases further if you choose a smaller aperture, but then the center sharpness starts to slowly decrease as a result of diffraction. At 12 mm and 14 mm, the difference between center sharpness and corner sharpness is most noticeable, in particular because the center sharpness is the highest there. The longer the focal length, the more the sharpness decreases. Even so, the sharpness in jpg files at 60mm is still over 2000 lines per picture height. We then analyzed both jpg files (standard image style) and unsharpened RAW shots made with the Panasonic GX80 in Imatest. The MTF50 was tested by setting the image ratio of the test camera to 2:3, so that the measurement results are directly comparable with the measurement results from lenses on a camera with an APS-C or full-frame sensor. If you use the camera in the standard ratio of 4:3, the number of lines per picture height is higher. In summary, the lens starts off very strongly at the wider angles, slowly reducing in sharpness as we zoom. The edges never equal the centre, but become more evenly matched as we approach 60mm. At the widest angle, the central sharpness is outstanding. The low distortion and CA figures are remarkable.
G85, 1.6s, f/5, ISO 200 – Pana-Leica at 12mm (Dual I.S. II) G85, 1s, f/4, ISO 200 – Pana-Leica at 60mm (Dual I.S. II) The reason variable apertures are a problem for manual exposure photographers relates to light transmission entering the lens barrel. Quite simply, the longer the barrel the more difficult it is for the light to get to the sensor. As a variable lens extends or retracts, the amount of light changes. If you’re shooting manual exposure you’ll have to readjust your shutter speed, aperture, or both as you zoom in or out. But that’s only an issue if you’re shooting on manual exposure. Since I shoot Program Mode virtually 100% of the time, the camera easily adjusts with the Leica 12-60mm. Why I shoot Program is an entirely separate blog post. You can read more about my reasons for this at Photography Using Program Mode . P for Professional is my motto . Below you can watch our video review of the Panasonic Leica 12-60mm f/2.8-4.0. It contains all the most important information about the lens, including the design, build quality, optical quality, autofocus performance, optical stabilisation, and some extra considerations.Working together with ATOMOS, a global company that creates innovativetechnologies and cloud services forfilmmakers everywhere, the new firmware enables the output of up to 5.8K / 29.97p and C4K / 119.88p RAW video data over HDMI to be recorded as Apple ProRes RAW on ATOMOS NINJA V and NINJA V+devices. The LUMIX G VARIO 12-60mm F3.5-5.6 ASPH. POWER O.I.S. doesn't come with either a lens pouch, but there is a hood included in the box. You can fit 58mm filters to this lens and the filter thread doesn't rotate when focusing.
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