This has led Panasonic to a more video-focused approach than the other companies, even lacking some of the still photo features that were taken for granted in other brands. But that has changed, and Panasonic now makes camears that are as good for photographers as videographer, but still they’re mostly designed for video.

The original Panasonic mirrorless cameras were in the Micro Four Thirds format, and many of them still use this smaller sensor. With the launch of the L-Mount Alliance, a lens standard adopted by several companies and which Panasonic helped create, Panasonic is going all-in on full-frame cameras.

Panasonic’s cameras feature unlimited recording, advanced video codecs, and professional video features that make their cameras perfect for video-first creators. I’ve been using a Panasonic S1 II as my YouTube studio camera, so if you’ve ever watched one of our videos, it was probably shot on Panasonic.

Our Picks at a Glance

Key Takeaways

Panasonic’s mirrorless cameras are built around strong video capabilities and reliable handling. The Lumix G100 II is aimed at vloggers who want Micro Four Thirds portability with good audio and stabilization. The Lumix S5 II strikes a balance between professional video and full-frame still performance, adding phase-detect autofocus to the series for the first time. The Lumix S5 IIx expands those capabilities with more advanced codecs and streaming options for creators who need a compact production camera. The Lumix GH6 remains a favorite among video shooters for its internal ProRes recording and flexible Micro Four Thirds lens options, while the Lumix S1H continues to serve as the most robust hybrid video camera in Panasonic’s lineup. Together, they form a system that covers everything from travel vlogging to commercial film production.

Panasonic Lumix S1 II

What We Think

The Panasonic Lumix S1 II is a full-frame mirrorless camera built around a 24.2-megapixel CMOS sensor and the latest Phase Hybrid autofocus system. It records 6K video up to 30 fps and 4K up to 120 fps, supports 5-axis in-body image stabilization rated up to 8 stops, and features a new Real Time LUT function for applying looks directly in-camera. The magnesium alloy body includes dual SD card slots, a 5.76-million-dot EVF, and an articulating 3.2-inch touchscreen.

Reasons to Buy

Dual card slots allow flexible workflows

5-axis IBIS makes handheld shooting practical

Phase-detect AF finally resolves past focus issues

Full-size HDMI and USB-C with power delivery

6K and high-frame-rate 4K options for hybrid use

Reasons to Avoid

Larger and heavier than the S5 series

No CFexpress option for faster data rates

Battery life shorter than DSLR standards

Menus and customization can overwhelm new users

Specifications

• Sensor: 24.1 MP partially‑stacked full‑frame CMOS
• Processor: Latest Panasonic S‑series engine
• Autofocus: Phase Hybrid Autofocus with 779 focus points
• Video: Open Gate 5.1K/60p, 4K up to 120p in some modes; internal ProRes RAW in supported modes
• Stabilization: 5-Axis IBIS up to 8 stops
• Storage: Dual SD UHS-II slots
• Screen: 3.2-inch articulating touchscreen
• Viewfinder: 5.76 M-dot OLED
• Weight: Approximately 740 grams (1.63 pounds

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This is currently my A-camera in the studio because it offers incredible image quality and best-in-class color rendition. It takes some time to dial in for studio setups, but once you have it set up, it produces amazing videos. The Dynamic Range Boost feature is extremely helpful for challenging lighting situations.

Panasonic’s flagship full-frame camera represents the pinnacle of its video-focused technology. It has excellent build quality and extensive video support, making it perfect for studio and location video work alike.

Panasonic S9

What We Think

The Lumix S9 is a compact full-frame mirrorless camera using the same 24.2-megapixel sensor as the S5 II but in a smaller, lighter body. It records 6K 30p and 4K 60p 10-bit video and includes Panasonic’s Real Time LUT feature for quick color grading in-camera. The S9 omits a viewfinder to keep the body slim and relies on a tilting rear touchscreen for composition. It shares the L-Mount system, making it compatible with Panasonic, Leica, and Sigma lenses.

Reasons to Buy

• Ultra-compact design makes it the most portable full-frame camera available while maintaining professional video recording capabilities.
• Professional video features, including advanced codecs and color profiles, provide serious production capability in a remarkably small package.
• Phase-detection autofocus is much better than Panasonic’s previous contrast-detect models and provides reliable tracking performance.

Reasons to Avoid

• No electronic viewfinder limits usability in bright outdoor conditions and traditional photography applications.
• Single SD card slot provides no backup option, which may concern content creators shooting important sessions or commercial work.
• Limited physical controls due to compact design may frustrate users who prefer buttons over touchscreen interfaces.

Specifications

• Sensor: 24.2MP Full-Frame CMOS
• Processor: Venus Engine
• Video Resolution: 6K 30p, 4K 60p
• Continuous Shooting: 30 fps (electronic)

• Stabilization: 5-axis IBIS
• LCD: 3″ 1.84m-Dot vari-angle touchscreen
• Connectivity: Wi-Fi 6E, Bluetooth 5.0
• Battery Life: Approx. 470 shots (CIPA)

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This camera is the best choice in Panasonic’s lineup for users who want full-frame image quality in the most compact package possible. The lack of an electronic viewfinder is a significant trade-off. Still, for content creators who primarily use the rear LCD, it offers professional video features in a portable design that’s perfect for travel and mobile production.

Panasonic’s ultra-compact full-frame camera prioritizes portability but still has all the video resolutions and formats you could need, despite the small size.

Panasonic GH7

What We Think

The Lumix GH7 is a Micro Four Thirds camera designed for professional video production. It uses a 25.2-megapixel BSI CMOS sensor with Phase Hybrid AF, internal ProRes recording, and support for Apple ProRes RAW. The GH7 also introduces 32-bit float audio recording with the XLR adapter, 5-axis stabilization, and unlimited recording in 4K or 5.7K. It continues the GH series’ reputation for video-first functionality while improving autofocus and workflow speed.

Reasons to Buy

• Internal ProRes and ProRes RAW simplify post-production
• Phase-detect AF eliminates focus hunting from older GH bodies
• 32-bit float audio integration expands professional use
• Excellent thermal management for unlimited recording

Reasons to Avoid

• Smaller MFT sensor limits low-light performance
• Larger body than most MFT cameras
• High bitrate formats require expensive storage cards

Specifications

• Sensor: 25.2MP Micro Four Thirds Live MOS
• Processor: Venus‑variant engine
• Autofocus: 79 Points, Phase Hybrid Autofocus
• Video: 5.7K up to 60p; 4K 60p 4:2:2 10‑bit unlimited, ProRes RAW options

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This camera finally brought phase-detection autofocus to Panasonic’s popular GH series, and it’s a game-changer for video creators who previously had to rely on manual focus. In my studio tests, the ProRes recording capability gives the footage post-processing adjustment capabilities, so it’s great for studio work but also for weddings and other shoots with quickly changing lighting.

Panasonic’s flagship Micro Four Thirds camera delivers professional video features in the most compact form factor available, but with the tradeoff that the smaller sensor has worse low-light performance than APS-C or full-frame cameras.

Panasonic Lumix S5 II

What We Think

The Lumix S5 II is a full-frame hybrid camera combining 24.2-megapixel resolution with advanced Phase Hybrid autofocus and 6.5-stop image stabilization. It supports 6K 30p and 4K 60p 10-bit recording, with unlimited record times in most modes. The camera includes a built-in fan for thermal control, dual SD card slots, and an articulating touchscreen. It’s part of the L-Mount system and offers a strong balance of features for both stills and video work.

Reasons to Buy

• Fast and reliable phase-detect autofocus
• Excellent 6K 30p and 10-bit video options
•  IBIS for handheld shooting better than many compeitor cameras

Reasons to Avoid

• Shorter battery life for long video sessions
• Menus can be complex for beginners
• Lacks built-in cooling for extended 6K recording

Specifications

• Sensor: 24.2 MP full‑frame CMOS
• Processor: Panasonic video engine variant
• Autofocus : 779-Point Phase-Detection AF System
• Video: 6K up to 30p, 4K up to 120p depending on mode; 10‑bit recording internal

• Stabilization: 5-axis in-body image stabilization (up to 6.5 stops)
• Lens Mount: L-Mount

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This is my top recommendation for content creators who need unlimited recording and professional video features without breaking the bank. This was my studio camera before the S1 II was released. Having used it extensively for video production, I’ve never had it overheat. The new phase-detection autofocus finally brings Panasonic up to competitive levels for shooting.

Recording up to 6K/30 is on par with cinema cameras that cost much more than this camera. With a viewfinder and a hybrid-style body, it’s a great choice for both photo and video work.

The menu system can be confusing because there are so many features and options. I’ve had to Google how to set up the features several times.

Panasonic S5 IIX

Bottom Line

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The S5 IIX takes everything I liked about the S5 II and squeezes in even more video technology, if that’s possible. It’s essentially the same camera at its core—the same sensor, autofocus system, and stabilization—but it unlocks more advanced recording formats, like All-Intra and ProRes, and adds direct-to-SSD recording over USB-C. It also supports wired and wireless IP streaming, which makes it easier to use in YouTube and other social media studios. There’s no photography advantage over the S5 II, and if you don’t need the expanded codecs or connectivity, the standard model makes more sense. But if your workflow leans heavily toward video and you want fewer external recorders and adapters, the S5 IIX is the smarter long-term choice.

Panasonic G97

What We Think

The Lumix G97 is a Micro Four Thirds camera using a 25.2-megapixel sensor with Phase Hybrid autofocus and strong video capabilities. It records up to 5.8K 60p and 4K 120p, supports 10-bit recording, and includes 5-axis Dual I.S. 2 stabilization for up to 8 stops of correction. It features an articulating screen, dual card slots, and weather-sealed construction. This model continues Panasonic’s push for hybrid performance within the MFT format.

Reasons to Buy

• Excellent value that provides access to Panasonic’s video-focused features and extensive Micro Four Thirds lens ecosystem at budget-friendly pricing.
• Free-angle LCD screen allows for feedback during selfie-style shooting and content creation applications.
• Compact Micro Four Thirds design makes it highly portable for travel and documentary work where size constraints matter.

Reasons to Avoid

• Contrast-based autofocus system is slower than phase-detection alternatives and may struggle with fast-moving subjects and low-light conditions.
• Single SD card slot offers no backup option, which may concern photographers shooting important events or extended sessions.
• Limited weather sealing compared to higher-end models makes it more vulnerable to environmental challenges.

Specifications

• Sensor: 20.3MP Micro Four Thirds Live MOS
• Processor: Venus Engine
• Video Resolution: 4K 30p unlimited
• Continuous Shooting: 9 fps

• Stabilization: 5-stop 5-axis Dual IS 2
• Viewfinder: 2.36m-Dot OLED EVF
• LCD: 3″ 1.84m-Dot free-angle touchscreen
• Connectivity: Wi-Fi, Bluetooth

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This is a great entry-level point to Panasonic’s video-first camera systems. It’s based on the Micro Four Thirds sensor, which allows it to be compact without losing much performance. In our testing, it delivers reliable performance for both stills and video, though it is mostly video-centric. The compact lens ecosystem makes it a perfect choice for travel and documentary work where portability matters most.

Built around a 20.3MP sensor with comprehensive automatic modes, the G97 delivers excellent image quality for a Micro Four Thirds camera. Low light performance isn’t an issue in studios, so it’s a perfect entry-level YouTube or Twitch camera.

Comparison Chart

Frequently Asked Questions (FAQs)

The post Best Panasonic Cameras: The Complete Buyer’s Guide for Every Photographer appeared first on Imaging Resource.

The LUMIX G9II is Panasonic’s most advanced Micro Four Thirds camera yet, featuring a 25.2MP sensor, Phase Detection Autofocus, incredible in-body stabilization, and pro-level 4K video tools. Whether you shoot wildlife, sports, or cinematic content, this is one of the most capable hybrid cameras you can get under $1,500 right now.

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Panasonic LUMIX G9II

Flagship Micro Four Third Camera, 25.2MP Sensor with Phase Hybrid AF, Powerful Image Stabilization, High-Speed Perfomance and Mobility, Flagship Model of G Series

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Why We Love the Panasonic LUMIX G9II

The LUMIX G9II marks a major leap for the G series – it’s the first to include Phase Detection AF, delivering fast, reliable subject tracking for moving subjects. Combine that with 60 fps burst shooting (AF-C) and blackout-free viewing, and you’ve got a serious tool for action photographers.

It’s also one of the most stabilized cameras in its class. The G9II’s 8-stop in-body IS and 7.5-stop Dual I.S. 2 make handheld telephoto shots or low-light scenes remarkably steady.

For video shooters, the specs are just as impressive: C4K/4K 10-bit 120p/100p recording, V-Log, Real-Time LUTs, and external SSD recording via USB. This makes the G9II a flexible choice for creators who need both professional-grade stills and cinematic video capabilities.

Key features include:

• 25.2MP Live MOS Sensor with new image engine for sharper detail and faster readout
• Phase Detection AF (779 points) – the first ever in the LUMIX G series
• 60 fps continuous burst with AF-C and blackout-free shooting
• 8.0-stop In-Body IS and 7.5-stop Dual I.S. 2 for incredible handheld stability
• C4K/4K 10-bit 120p/100p video with Real-Time LUT and V-Log support

Who Is This Deal For and Is It a Good Time to Buy?

The LUMIX G9II is built for creators who need both speed and versatility. Sports, wildlife, and motorsport shooters will appreciate its autofocus and burst capabilities, while hybrid content creators will love its professional video features and real-time LUT options.

CamelCamelCamel’s tracking labels it as Best Price and calls it one of the lowest recorded prices for the G9II since launch. Also, the discount is tied to Amazon Prime Big Deal Days (October 7-8), which means it’s likely to end soon after the event wraps up. So if you’ve been waiting to grab Panasonic’s latest flagship at a discount, now’s the perfect time.

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The post Panasonic LUMIX G9II Drops to Its Lowest Price Yet on Amazon appeared first on Imaging Resource.

Compact and creator-focused, the Lumix S9 is designed for hybrid shooters who need high-quality video and strong still performance in one portable body. At this price, it’s one of the best-value full-frame cameras available right now for creators on a budget.

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Panasonic LUMIX GH7

The Iconic Pro Camera, with Up-to-the-Minute Improvements: now newly equipped with Apple ProRes RAW* internal recording and a World’s first 32-bit float recording**. Experience dramatic… Read more

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Why We Love the Panasonic Lumix S9

The Lumix S9 is a compact, video-oriented mirrorless camera built around a 24.2-megapixel full-frame CMOS sensor that can record up to 6K30p 10-bit video while using the full width of the sensor. It’s ideal for creators who want cinematic quality in a travel-friendly package.

It also includes in-body image stabilization (Active I.S.) for smoother handheld shots, and Phase Hybrid Autofocus that locks onto subjects quickly and reliably – perfect for run-and-gun filmmaking or vlogging.

Key Features

• 24.2MP Full-Frame Sensor with Phase Hybrid AF: Delivers detailed images and responsive autofocus for both stills and video.
  
• 6K30p 10-Bit Recording with V-Log: Captures cinematic footage with flexible color grading options.
  
• Active I.S. Stabilization: Keeps handheld footage smooth, even when shooting in low light.
  
• Open Gate Recording: Ideal for vertical and social media content with flexible aspect ratios.
  
• L-Mount Lens Compatibility: Works with a wide selection of L-Mount lenses from Panasonic, Leica, and Sigma.

Who Is This Camera For and Is It a Good Time to Buy?

The Panasonic Lumix S9 is perfect for content creators, vloggers, and independent filmmakers looking to produce professional-quality video without the bulk of a cinema rig. Its compact form factor and full-frame sensor make it a powerful creative tool for both travel and studio setups.

According to CamelCamelCamel, this is the lowest recorded price for the S9 – and the deal is exclusive to the Amazon Prime Big Deal Days event. If you’ve been waiting to upgrade to a full-frame camera for content creation, now’s the time to do it before the sale ends.

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LUMIX S1R II: Firmware Version 1.2

Leading the pack is the S1R II, which gets a major boost in both video and photography functionality. With Firmware 1.2, the camera now supports 8.1K and 7.2K Open Gate (3:2) recording, as well as RAW video output via HDMI when paired with an external recorder.

For those working in cinematic workflows, Panasonic is also introducing ARRI LogC3 color space support, enabling users to match S1R II footage with ARRI cameras. This feature does require the paid DMW-SFU3A Software Upgrade Key ($199.99), but it’s a valuable option for professionals already invested in ARRI color science.

Autofocus also gets a targeted improvement with a new Urban Sports recognition, designed to improve human detection in fast-moving environments like breakdancing, parkour, and skateboarding.

Photographers will also welcome the addition of focus stacking, which combines multiple shots taken at different focal distances into a single image with extended depth of field – a big win for macro shooters.

The update also brings direct file transfers from internal cards to external SSDs, proxy recording to internal media while outputting RAW over HDMI, and Capture One tethering support via Wi-Fi or wired LAN (using a USB adapter). Customization also gets a bump, with assignable key functions, selectable focus ring direction in manual focus, and up to 10 customizable AF frame colors.

S1 II and S1 IIE: Firmware Version 1.1

The Lumix S1 II and the S1 IIE are also receiving solid updates via Firmware 1.1.

Both cameras now offer expanded framing flexibility with 7 new aspect ratio options and the ability to simultaneously display up to three overlays – helpful for content creators juggling different platforms and crop requirements.

Like the S1R II, both models gain ARRI LogC3 color space support (with the paid DMW-SFU3A key), focus stacking, and the Capture One tethering functionality via Wi-Fi or USB LAN adapter. They also get the same 10-color AF frame customization option for enhanced usability in the field.

Availability

Firmware 1.2 for the LUMIX S1R II and Firmware 1.1 for the S1 II and S1 IIE will be available to download on June 24, 2025, from Panasonic’s global support page. These firmware updates are free, though the ARRI LogC3 upgrade key will be sold separately for $199.99.

If you are looking to get a new Panasonic camera, the Lumix S1R II is currently priced at $3,297.99 while the S1 II and S1 IIE are listed for $3,197.99 and $2,497.99 respectively. For those who haven’t yet explored Panasonic’s latest full-frame lineup, be sure to check out our review of the LUMIX S1 II – it’s a solid hybrid camera that’s only getting better with these new updates.

Our Recent Panasonic-Related Coverage

Panasonic Launches LUMIX S1II and S1IIE Full-Frame Cameras, Plus a New Compact F/2.8 Zoom
Panasonic CP+2025 Interview: Micro Four Thirds insights, Full-Frame Strategy, and LUMIX Lab
Panasonic Introduces the LUMIX S1RII: A High-Resolution Hybrid Powerhouse

Newest Fujifilm-Related Equipment

SmallRig Unveils Camera Cage for Panasonic S1R II
Panasonic Launches Four Pro Camcorders
Panasonic announces the Lumix G97 and ZS99, two new point-and-shoot cameras

The post Panasonic Rolls Out Major Firmware Updates for LUMIX S1R II, S1 II, and S1 IIE appeared first on Imaging Resource.

Panasonic S1 II First Glance Takeaways

• Professional Build: The magnesium alloy body feels rock‑solid and weather‑sealed. It is heavier than typical mirrorless but inspires confidence on rugged shoots.
• Ergo + Controls: The dial‑heavy layout is a throwback to pro DSLRs. Menus run deep-so assign frequently used functions to the Fn buttons early on.
• EVF & Screen: That 5.76 M‑dot viewfinder is bright, sharp, and usually lag‑free. The multi‑axis tilt touchscreen offers flexible shooting angles without compromising durability.
• IBIS Performance: The five‑axis stabilization delivers tack‑sharp frames handheld at 1/4 s or slower-ideal for low‑light or telephoto work.
• Autofocus: Phase Hybrid AF. It nails static subjects but hunts more than other AutoFocus systems.
• Video Features: 5.8K Open Gate at 60 p, 4K/30 p full‑frame oversampled, and an internal cooling fan. Pro‑level menus span nearly twenty pages before even touching stills settings.

In the Field: Austin Launch to Methow Valley

At the S1 II launch event in Austin, Texas, paired with the new 24-60 mm F2.8 zoom, I captured everything from sharp photo bursts (70 fps) to smooth event video. Back home in Methow Valley, the newly developed 24.1 MP partially stacked sensor rendered wildflower meadows and alpine vistas with vibrant colors and fine detail under the midday sun.

The lens proved as versatile as the subjects I shot. It kept pace with the autofocus and felt solid and premium in hand. As a first-time Lumix user, the system delivered the results I was hoping for. The 24-60 mm range balanced flexibility and portability, offering a compact, lightweight build without compromising performance. I tested the Hybrid Zoom feature at the skate park and again while filming the bats emerging from under the Congress Avenue Bridge. While the bat footage was not usable-it was too dark, and the bats were tiny-the digital zoom performed as advertised.

When a monsoon‑like downpour landed, the durability and IBIS of the camera shone through. I hand‑held the S1 II for low‑light honky‑tonk concert stills and evening architectural shots across the street from my hotel-all without a tripod.

Panasonic S1 II Workflow Tips

The S1 II menu labyrinth can overwhelm. I recommend:

1. Menu Mapping: Spend an hour mapping your top five functions (e.g., burst mode, af sensitivity, video resolution) to custom buttons.
2. Firmware Upgrade: Grab a huge update when it becomes available. If you choose the S1 II E version, you get Cinemascope and access to ARRI LUTs.
3. Tutorials: Watch setup guides on YouTube. Even seasoned shooters will pick up time‑saving tricks.

Once dialed in, the S1 II rewards you with rock‑solid reliability and pro‑grade output-if you are willing to learn its quirks.

More S1 II Images

The post Field-Tested: Panasonic S1 II with 24–60 mm F2.8 Lens appeared first on Imaging Resource.

Panasonic has finally rounded out its set of four F1.8 prime lenses for full-frame L-mount cameras with the introduction of the new Lumix S 35mm F1.8 lens. Panasonic has had a series of four different F1.8 lens varieties on their L-mount roadmap for some time now, and the company has slowly, but steadily rolled out new prime lenses over the course of the past year or so. This “F1.8 family” of prime lenses all share a similar size and weight, making them easy to swap around on camera rigs as well as more easily share accessories, such as screw-on filters. This latest 35mm wide-angle prime joins the wider 24mm F1.8 lens that debuted back in August, as well as the earlier 50mm F1.8 and 85mm F1.8 lenses.

Much like the earlier three lenses, the new Panasonic S 35mm F1.8 lens shares a similar overall footprint in terms of physical dimensions as well as a similar weight. This is particularly useful for video creators who often utilize camera rigs that are calibrated and balanced for the body and lens as well as use add-on accessories such as follow-focus gears. Having a set of lenses that share a common size and center of gravity is very convenient, making it much faster and simpler to change lenses to a different focal length without spending time re-balancing camera rigs and gearing. For still photographers, this is less of a critical feature, but you still get the added bonus of easily swappable screw-on filter compatibility — all four lenses use the same 67mm filter size — as well as an all-around compact and very lightweight set of prime lenses.

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The new Lumix 35mm F1.8 S lens weighs in at just 295g (0.65 lbs.), which is ever-so-slightly lighter than the 24mm F1.8 sibling, which weighs around 310g (0.68 lbs.). The dimensions, as you might expect, are essentially identical with a 73.6mm (2.9 in.) diameter and a length of 82mm (3.23 in.), with the only differing factor the overall sizes of these lenses being their respective lens hoods. Like the 24mm F1.8 lens, the 35mm uses a petal-shaped lens hood, whereas the two longer focal length lenses use solid barrel-shaped hoods. The lens hood of the 35mm F1.8 is a bit longer than the one on the 24mm lens, adding about two inches or so in additional length to the lens.

Like its other counterpart lenses, the new 35mm F1.8 is constructed almost entirely out of durable and sturdy-feeling, yet very lightweight plastic. Despite the plastic construction, the lens feels very solid and nicely constructed. The lens mount, however, is metal, and the lens is also weather-sealed against dust and moisture and cold temperatures down to -10 degrees C (14 degrees F). There is a weather sealing gasket around the lens mount.

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In terms of optical layout, the Lumix S 35mm F1.8 lens is comprised of 11 total elements situated into nine groups and includes three aspherical elements and three Extra-Low Dispersion (ED) elements. The aspherical elements help ensure sharp image quality performance across the frame, while the ED elements help suppress chromatic aberrations. The aspherical elements, along with the 9-bladed circular aperture diaphragm, help ensure pleasing bokeh performance.

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Much like the other F1.8 primes, the 35mm F1.8 S lens uses a linear AF motor, offering fast and silent autofocusing performance. Like many Panasonic Lumix lenses, the 35mm F1.8 S lens supports Lumix cameras’ high-speed contrast-detection AF system with sensor drive at up to 240fps. In the field, AF performance feels very fast and very precise. The lens can also focus quite closely, with a minimum focus distance of 0.24m (0.79 ft.) — which enables nice, dramatic close-up wide-angle shots. With manual focus, the lens supports both a linear and non-linear manual focusing behavior, a setting that can be adjusted in-camera. In non-linear mode, the focus ring responds to how quickly you rotate the focus ring, whereas in linear mode, focus responds to the rotational angle of the focus ring. You can adjust the sensitivity of the linear focusing mode in-camera as well. In other words, how much focus changes per unit amount of ring rotation can be adjusted, from 90-degrees to 360-degree in 30-degree increments.

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Pricing & Availability

The Panasonic LUMIX S 35mm F1.8 lens will be available at the end of November for a retail price of $699.99.

In addition to the debut of the 35mm F1.8 lens, Panasonic also announced the development of yet another F1.8 prime lens, an ultra-wide 18mm F1.8. No other product specs or availability details have been released. Additionally, Panasonic has also announced firmware updates for several full-frame lenses, including the 70-200 F2.8, 70-300mm and 24-105mm F4, which “improves stability of the image stabilizer during video recording.” The firmware update also boosts the performance of Dual I.S. 2 in the 24-105mm F4 lens from 6.5 stops to 7.5 stops for still photos when used with the Lumix S1H, S1R and S1 cameras.

The post Panasonic announces new LUMIX S 35mm F1.8 wide-angle prime for full-frame mirrorless cameras appeared first on Imaging Resource.

Panasonic today announced a new member to its unique “box-style” video camera line, the Panasonic Lumix BS1H. As you can probably guess from the model name, the new BS1H, is essentially a full-frame Lumix S1H mirrorless camera put into a small cube-like body. Like its Micro Four Thirds-based sibling, the BGH1, this new full-frame video-focused camera is purpose-built for several specialized video recording use cases, particularly live-streaming, remote and multi-camera video as well as cinema uses where a larger camera like the S1H might be impractical.

The inclusion of a full-frame sensor allows for improved image quality, especially in low-light, and offers “cinematic bokeh” for live-streaming video sitations compared to the MFT-based BGH1. It also offers improved dynamic range, and additional video resolutions the BGH1 doesn’t offer, such as 5.9K and 6K recording resolutions. The BS1H also includes HFR (High Frame Rate) video up to 120p and RAW video support for Blackmagic recorders.

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Physical design aside, when it comes to recording capabilities and the imaging pipeline, the BS1H is remarkmably similar to its standard Lumix S1H, as you might expect. The camera features the same 24.2-megapixel full-frame CMOS sensor with optical low-pass filter and Dual Native ISO, paired with Panasonic’s latest-generation Venus Engine processor. The camera has two base ISOs, a low base ISO of 100 and a high base ISO of 640 in normal shooting modes. The camera has a full native ISO range spanning 100 to ISO 51,200 — or fully expanded from low ISO 50 up to ISO 204,800. The ISO range, however, varies depended on the recording mode. For V-Log, the dual native ISOs shift to 640 and 4000. In the low range, the ISO spans 640-51,200, expandable only down to ISO 320, while in the high range, it’s 4000-51,200, with expandable down to ISO 2000. Similarly, HLG video mode spans ISO 400 to 51,200 and is only expandable upwards to ISO 204,800, while native ISO falls at ISO 400 and 2500. For Cinelike D2 and V2 footage, the standard range is ISO 200-51,200, with full expandable ISOs spanning 100-204,800, with native ISO at 200 and 1250.

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The primary feature difference in terms of image capturing capabilities is the BS1H’s lack of in-body image stabilization, much like the MFT BGH1 sibling model. As with other Panasonic Lumix cameras, the BS1H uses a DFD-based contrast-detect AF system.

Although the BS1H can capture still images (it’s in JPEGs only and only when shooting tethered to LUMIX Tether for Multicam software), the obvious focus for this device is video recording. And as you might expect from Panasonic, the video features, formats, resolutions and framerates offered are extensive. Like the “standard” Lumix S1H, this box-camera verison offers 3:2 aspect ratio video recording at both high-res 6K/24p and 5.4K/30p. It also records 5.9K/30p in 16:9 aspect ratio. There is also numerous 4K video recording options, as well as Full HD. The camera offers both Cinema 4K (4096 x 2160) and 4K UHD (3840 x 2160) up to 30p with 4:2:2 10-bit and in 60p with 4:2:2 10-bit*. There is also Anamorphic 4K up to 30p (or 50p for PAL), as well as Variable Frame Rate modes from 2fps to 60fps at 4K resolution and up to 180p in Full HD. High Frame Rate (HFR) video is available up to 120p with sound and autofocusing capabilities.

*C4K/4K 60p 10-bit HEVC video uses a Super35 sensor area (cropped), while 4K30p 4:2:2 10-bit is recordable in H.264 using the full sensor width.

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The BS1H also offers high-resolution video recording and RAW video capture via HDMI output. The camera records 4K 60p 4:2:2 10-bit out through HDMI as well as 5.9K, 4K and Anamorphic 4:3 3.5K in 12-bit RAW video over HDMI into an Atomos Ninja V (Apple ProRes) or a Blackmagic HDMI recorder in Blackmagic RAW.

As with the S1H, the BS1H inherits several features from Panasonic VariCam line of cinema cameras, including color science and dynamic range. The BS1H is said to offer 14+ stops of dynamic range when using V-Log; V-Log and V-Gamut provide a wide dynamic range and broad color capturing for enhannced control of the look of the footage in post-production. According to Panasonic, the BS1H’s color gamut, known as V-Gamut, is wider than the standard BT.2020 color gamut.

In terms of physical design, the BS1H is largely similar to the Micro Four Thirds variant, with nearly identical physical dimensions — though its weight is slightly heavier at 585g vs 545g. The camera uses a heat dissipating structure, and features an on-board cooling fan much like both the S1H and BGH1 cameras, allowing the compact cube camera to offer unlimited video recording capabilities even at high-resolution and high data-rate settings.

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 Although many of the video recording options are similar between the standard S1H camera and this new box-camera variant, the primary differences (apart from the obvious form factor) are the connectivity options the BS1H provides. On the exterior, the camera body offers an array of 1/4-20 sockets for attaching a number of accessories. The BS1H features a wide variety of ports and connection options not found on the S1H, including the popular motion picture and television 3G-SDI connector and built-in Ethernet (RJ-45) with support for PoE (power over ethernet). Additionally, there is a Type-A HDMI port and a USB3.1 Type-C port, though it does not offer USB Power Delivery like on the standard S1H.

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Audio can be recorded via a 3.5mm audio input, while the camera is also compatible with the DMW-XLR microphone accessory to support XLR microphone inputs. The BS1H features double SD card slots (UHS-II) for backup recording or relay recording.

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As the BS1H is likely to be used in various multi-camera setups, the design and features of the camera allow for easy syncronizing with multiple cameras as well as remote control operation. The BS1H features on-board Genlock IN and Timecode In/Out functions allowing multiple cameras to have their footage easily kept in-sync. The camera works with Panasonic’s LUMIX Tether for Mutlicam, allowing for the control of up to 12 individual BS1H cameras — a functionality also offered on the BGH1 but not on the standard Lumix S1H camera. The BS1H also supports wired LAN support for live streaming capabilties. The BS1H supports IP streaming (RTS/RTSP), with support for streaming video up to 4K 60p in H.265. Lastly, there is also on-board wireless connectivity, with 2.4Ghz Wi-Fi and Bluetooth v4.2 (BLE).

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Pricing and Availability

The Panasonic LUMIX BS1H is scheduled to hit stores in November with a retail price of $3,499.99.

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The post Panasonic announces new “box-style” video camera with the full-frame sensor from the Lumix S1H appeared first on Imaging Resource.

Back in July, Panasonic announced a compact and affordable 50mm f/1.8 S lens for their full-frame S series cameras. Alongside this lens, they mentioned two more f/1.8 primes were in the works, a 24mm and a 35mm. Today, the 24mm flavor makes its debut, and much like the 50mm f/1.8 S and previous 85mm f/1.8 S lenses before it, the new Lumix 24mm f/1.8 S lens is surprisingly compact and lightweight for a fast, full-frame-format wide-angle prime. The new 24mm f/1.8 S lens offers a versatile focal length, one that’s a popular choice for landscape photography. With the addition of a rather fast f/1.8 aperture, the lens is also well-suited for nighttime photography as well as other low-light situations — the combination of a wide-angle perspective and good low-light performance make this a good choice for shooting indoors and other cramped locations.

Along with the forthcoming 35mm f/1.8 lens, this family of f/1.8 primes all purposefully share a similar size, weight and overall handling characteristics, making it simpler to exchange lenses quickly and easily without requiring much, if any, camera rig adjustments, such as to balance. This is particularly useful in video applications, such as with gimbals, where camera balance is an important operability factor.

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Design & Handling

Much like the earlier 50mm and 85mm f/1.8 primes, the Lumix S 24mm f/1.8 lens is deliberately designed to share a similar size, shape and weight to these other f/1.8 primes. For still photographers, this is a less critical design feature, but for video shooters, this can be a handy benefit. Oftentimes, cinematographers will rig up their camera with follow-focus gears or need to precisely balance their camera and lens on tripod heads, gimbals and other support rigs. Having similarly-sized and similarly-weighted lenses makes it much less time-consuming to swap around lenses as needed for a given shoot.

The benefit here for still photographers, however, is that they get a lightweight, compact and easy-to-carry wide-angle prime that still has a nice, fast aperture. The lens feels designed particularly well designed for the smaller Lumix S5 full-frame camera, while the lens feels a bit dwarfed by the larger S1R camera I used. It goes without saying that this compact lens feels comfortable and unintrusive on this larger camera body, seeing as it’s only about three inches in length and weighs a mere 310g (0.68lbs.).

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As expected, in the hand, the new Lumix 24mm f/1.8 S lens feels very similar to its earlier 50mm and 85mm sibling lenses. In fact, without their respective lens hoods attached, you’d be hard-pressed to tell each lens apart without seeing the focal length labeling on the top of the lens (and branded ring at the front). The 24mm lens, unlike the longer focal length primes, uses a petal-shaped lens hood due to the wide-angle field of view. Without the lens hoods, all three lenses (and presumable the upcoming 35mm lens, too) are exactly the same length, at 82mm (3.23in.). They also have the same diameter (73.6mm / 2.9in.) and share the same 67mm screw-on filter thread size, which is yet another pleasing usability benefit — you can easily share the same filters between all of these f/1.8 primes.

In terms of physical construction, the lens barrel on the 24mm f/1.8 feels made entirely out of strong and sturdy yet lightweight plastic rather than metal. This is, again, similar to the other Panasonic f/1.8 primes and helps not only keep the weight down but also, I imagine, the cost, as well. Do not get the wrong impression, however. Despite the plastic exterior, the lens feels very solidly built and not at all “plasticky” or cheap-feeling. The lens does have a metal lens mount, like its sibling lenses, and also features durable dust- and splash-resistant design with seals within the lens, at either end of the focusing ring and at the lens mount. The lens is built to withstand a professional workflow and harsh conditions, including freezing temperatures down to -10 deg C (14 deg F).

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When it comes to other exterior design features, the Lumix 24mm f/1.8 S lens is rather spartan, much like its sibling lenses. The lens really only has a large, rubberized focusing ring and a single AF/MF switch on the side of the barrel. In use, the focusing ring offers a nice amount of grip and rotates very smoothly, with a satisfying amount of resistance that makes it easy to do controlled, precise focusing changes. One notable missing feature is any sort of marked focusing distance scale on the lens itself; for these details, you’ll need to use the on-screen focusing scale on a Lumix S-series camera.

Optical Design & Image Quality

Though the exteriors are nearly identical, the optical formulas of these f/1.8 primes differ. The 24mm f/1.8 S lens utilizes more lens elements overall than the two other longer lenses. Here, the 24mm lens uses a total of 12 optical elements situated into 11 groups, and includes a range of exotic, specialized lenses, such as three aspherical elements, three Extra-Low Dispersion (ED) elements and one Ultra Extra-Low Dispersion (UED) element. According to Panasonic, the aspherical elements help ensure sharp image quality performance across the frame, while the ED and UED elements help suppress chromatic aberrations. The aspherical elements, along with the 9-bladed circular aperture diaphragm, help ensure pleasing bokeh.

S1R: f/4, 1/1000s, ISO 100, -0.3EV

I’ve only been hands-on with the Lumix S 24mm f/1.8 for a few days, so it’s a bit early to make any final conclusions about image quality. However, based on an initial impression, the new 24m f/1.8 lens performs well. Images appear quite sharp in the center of the frame, even at f/1.8. Despite the wide-angle field of view, the f/1.8 can still make for a fairly shallow depth of field in certain situations — which is especially noticeable on the high-resolution Lumix S1R camera I used with the lens. It’s quite easy to have images with soft corners merely due to the shallow depth of field. That being said, in shots where I was able to get proper a corner-to-corner plane of focus, corner sharpness is quite good, even wide-open. There’s still a good amount of detail away from the center, though stopping down does help a bit in sharpening the corners. Again, it’s a bit early for a final conclusion with regard to sharpness, however.

S1R: f/1.8, 1/500s, ISO 100, -0.7EV

In other areas, namely vignetting and purple fringing, the 24mm f/1.8 S does show some issues at certain apertures and in certain situations. Vignetting is quite noticeable when shooting wide-open, though to my tastes, it’s not overly distracting. If you’re photographing a scene where you want crisp edge-to-edge sharpness and even brightness, you’re likely to be stopping the lens down anyway. And indeed, stopping the lens down to about at least f/2.8 helps brighten up the corner shading. Meanwhile, purple fringing can be quite noticeable, especially when shooting at f/1.8 in harsh, high-contrast situations. For example, photographing in a forested area with bright sun shining through the trees, you can see some purple fringing appear along high-contrast edges, such a backlit leaves and tree branches, when shooting at f/1.8. Chromatic aberration is generally quite mild, though some axial CA can also be seen when shooting at the wider apertures in certain situations.

S1R: f/1.8, 1/160s, ISO 100, -0.3EV

Focusing

Much like the other f/1.8 primes, the 24mm f/1.8 S lens uses a linear AF motor, which offers fast and silent autofocusing performance. Like many Panasonic Lumix lenses, the 24mm f/1.8 lens supports Lumix cameras’ high-speed contrast-detection AF system with sensor drives at up to 240fps. In the field, AF performance feels very fast and very precise. The lens can also focus quite closely, with a minimum focus distance of 0.24m (0.79 ft.) — which enables nice, dramatic close-up wide-angle shots — and even with a rather broad focusing range, the lens is swift to rack focus from close-focus to infinity. Small focus changes feel nearly instantaneous in most situations (very dark scenes or very low-contrast subjects can slow down focusing speed to a degree).

S1R: f/1.8, 1/100s, ISO 100, -0.3EV

With manual focus, the lens supports both a linear and non-linear manual focusing behavior, a setting that can be adjusted in-camera. In non-linear mode, the focus ring responds according to how quickly you rotate the focus ring, whereas in linear mode, focus responds to the rotational angle of the focus ring. You can adjust the sensitivity of the linear focusing mode in-camera as well. In other words, how much focus changes per unit amount of ring rotation can be adjusted, from 90-degrees to 360-degree in 30-degree increments.

For video shooters, the lens is also designed with special attention to minimize focus breathing, and the lens’s micro-step aperture control allows for smooth iris control if lighting/exposure changes while recording.

S1R: f/1.8, 1/320s, ISO 100

Pricing & Availability

The new Panasonic Lumix S 24mm f/1.8 lens is scheduled to go on sale in mid-October with a retail price of $899.99. This wide-angle prime is a bit more expensive than its longer f/1.8 siblings, with the 50mm f/1.8 S coming in at around $450 USD and the 85mm f/1.8 S at around $600 USD.

For more information, as well as a range of real-world samples images, head over to our Panasonic 24mm f/1.8 S Review and Sample Gallery.

S1R: f/1.8, 1/4000s, ISO 100

-Â Panasonic S 24mm f/1.8 Sample Gallery –

The post Hands-on with Panasonic’s new full-frame mirrorless lens, the LUMIX S 24mm f/1.8 S (Sample Gallery) appeared first on Imaging Resource.

Announced as “in development” back in May alongside the Lumix GH5 Mark II and forthcoming GH6, Panasonic’s latest Micro Four Thirds lens, the LEICA DG 25-50mm f/1.7 Vario-Summilux, is here in full. As noted in the development announcement, this new Panasonic-Leica fast-aperture zoom lens is designed complement the earlier 10-25mm f/1.7 Leica DG Vario-Summilux lens. The two lenses share the exact same overall size, shape and design as well as nearly identical weights. As a pair, this allows the two lenses to be easily swapped back and forth as needed, which is particularly useful in video production scenarios where follow-focus gears and similar accessories are used on each lens as well as for camera balance and weight — an important factor when using jibs, gimbals and similar devices.

Together with the 10-25mm f/1.7 lens, the new 25-50mm sibling provides Micro Four Thirds shooters with a constant f/1.7 aperture performance with a focal length range spanning 20mm-eq. all the way out to 100mm-eq. It’s a very versatile range that’s condensed down into just two lenses. Both lenses are designed for video and stills and are well-suited for various use-cases, from landscapes and astrophotography to portraiture and general low-light shooting — and really any kind of photographic pursuits where you want a shallow depth of field, good subject isolation and smooth, pleasing bokeh.

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We were fortunate to get a brief, early hands-on look at the new 25-50mm f/1.7 lens, and in addition to hands-on field notes below, we also have a selection of real-world gallery images for your perusal. (Note: the gallery images shot so far were taken with the Olympus E-M1 III; our Panasonic GH5 II, the new Lumix camera we have in-house, is still running pre-production firmware. We plan to flesh out the lens gallery with additional shots once the GH5 II is updated.)

Olympus E-M1 III +Â Panasonic 25-50mm f/1.7:
50mm, f/1.7, 1/250s, ISO 200, -0.7EVÂ

Design & Handling

As mentioned, the Panasonic 25-50mm f/1.7 utilizes a nearly identical design to the earlier 10-25mm lens. It’s essentially the exact same lens from an exterior standpoint but with a different focal length range. Physical dimensions and weight are nearly identical, with the 25-50mm f/1.7 having a maximum diameter of 87.6mm (3.45 in.), a length of about 127.6mm (5.02 in.). and a weight of around 654g (1.44lbs). There’s an ever-so-slight difference in weight (654g vs 690g on the wider lens), but essentially these two lenses are physically the same from a handling and usability standpoint.

For still photographers, having physically similar lenses might not be such a high-priority feature or something critically important for day-to-day use, but in the video world, it can make a difference in time and convenience. Often, video camera setups are complex, with many additional components mounted to the camera rig itself. In particular, accessories such as follow-focus gears and zoom gears require adjustments between different lenses. By having matching lenses, with their zoom and focus rings in the same location, it’s easier for the cinematographer to swap lenses more quickly without having to adjust the follow-focus and other geared accessories. Further, when using weight- or balance-sensitive camera rigs, such as jibs or gimbals, having similarly-sized lenses, again, makes it easier to swap optics as needed without having to recalibrate the rigs.

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In the hand, the Panasonic 25-50mm f/1.7 lens is a very solid, well-built lens that’s also surprisingly lightweight despite its somewhat chunky and hefty-looking shape. The lens uses 77mm-sized screw-on filters and feels more akin to a full-frame lens than the usual tiny and light Micro Four Thirds lenses one might be used to seeing. Still, despite the visual appearance of a large lens, it feels pleasingly lightweight in the hand, and it was very easy to carry around and shoot with for long periods.

Olympus E-M1 III + Panasonic 25-50mm f/1.7
42mm, f/1.7, 1/500s, ISO 200

Both the zoom ring and focus ring spin with firm yet pleasingly smooth rotation. Both rings have a good amount of resistance and don’t feel easy to bump or move accidentally. The zoom ring, in particular, feels very precise and smooth to rotate. With a zoom range of just 25mm to 50mm, there’s not a huge amount of rotation needed to go through the full range of focal lengths; only about 45 degrees of rotation. The zoom ring has focal length markings at 25mm, 30mm, 35mm, 40mm, 45mm and 50mm.

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The focusing ring is thinner than the approximately 1-inch-long zoom ring and sits further out towards the front of the lens. As mentioned, it rotates very smoothly, but as with most mirrorless lenses, the ring will rotate indefinitely when in AF mode. The lens features a pull-back clutch mechanism to engage manual focusing mode, revealing markings for a focusing distance scale. In MF mode, the focusing ring has soft stops at either end; you feel “stops” at either end of the focusing range, but you can continue to rotate the ring past either end. The electronically-controlled focus ring can also be customized in the camera with a setting for either linear and non-linear focusing behavior.

Lastly, at the very end of the lens is a thin, manual aperture control ring. Seeing as the lens is likely to be used for more video purposes, the aperture does not have a “clicked” design and instead has a smooth iris control across its full range from f/1.7-f/16. There are markings for f/1.7 and then labeled whole-stop apertures along the ring as well as third-stop increments in between. The ring also has a soft-locking “A” (Auto) position, allowing the aperture to be controlled directly via the camera. In addition to its stepless aperture ring, the lens also has a micro-step drive system for the aperture diaphragm control itself, which Panasonic states allows for fast and smooth adjustments to the exposure changes while when panning or zooming.

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The lens doesn’t include many other physical features, such as programmable lens functions buttons or focusing distance limiter switches (though the latter isn’t usually common on lenses in this focal length range). There’s no optical image stabilization in the lens, so any stabilization would come from body-based IS on the camera.

Lastly, the lens features thorough weather sealing, much like its sibling lens and most other Panasonic-Leica lenses, and is built to withstand dust, moisture and freezing temperatures down to -10-degrees C (14-degrees F).

Olympus E-M1 III + Panasonic 25-50mm f/1.7
25mm, f/1.7, 1/2000s, ISO 200

Optics & Image Quality

In terms of the particulars of the lens’s optical layout, the Panasonic 25-50mm f/1.7 uses a total of 16 elements in 11 groups — one fewer element than in the 10-25mm sibling lens. The 25-50mm f/1.7 lens includes a single aspherical lens element, three ED glass elements and one ultra-high-refraction (UHR) element.

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Together, these elements help suppress axial chromatic aberration and CA of magnification. The aspherical element also helps combat spherical aberration and distortion while also helping to ensure sharp image quality across the frame. The lens also features a 9-bladed circular aperture diaphragm for smooth, pleasing bokeh.

Focusing

The Panasonic 25-50mm, like its wider 10-25mm sibling, uses an internally-focusing design with a 240fps-compatible high-speed sensor drive motor. In use, the lens autofocuses both very quickly and nearly silently. Even when used on a non-Panasonic camera body (hence no DFD-assisted focusing), the lens was very fast and very precise with focusing in single-shot AF mode. The focusing mechanism is also designed to suppress focus breathing across the zoom range, once again making it an excellent lens for video recording.

Olympus E-M1 III + Panasonic 25-50mm f/1.7
41mm, f/1.7, 1/640s, ISO 200, -0.7EV

The lens is not a macro lens, but with a close focusing distance 0.28m (0.92ft) at 25mm and 0.31m (1.02ft) at 50mm, the lens can still focus close onto your subject. At 50mm, the lens offers a 0.21x (0.42x in 35mm eq.) magnification ratio.

Pricing & Availability

The Panasonic LEICA DG 25-50mm f/1.7 Vario-Summilux is scheduled to go on sale at the end of August with a retail price of $1,799.99 — the same initial retail price as the 10-25mm lens.

– Panasonic 25-50mm f/1.7 Gallery –

The post Hands-on: Panasonic announces super-fast Leica 25-50mm f/1.7 Micro Four Thirds lens appeared first on Imaging Resource.

Panasonic continues to expand its lineup of full-frame S-series lenses, adding another compact yet bright f/1.8 prime lens to the family. The new Lumix S 50mm f/1.8 prime joins the previously-unveiled 85mm f/1.8 S lens from last November as well as two planned upcoming f/1.8 primes — a 24mm f/1.8 and 35mm f/1.8 — from Panasonic’s lens roadmap. This new 50mm f/1.8 lens, along with the three other f/1.8 primes, are designed all with similar sizes, weights and filter sizes, allowing them to be easily swapped around (especially helpful for video creators using rigs, gimbals and other complex setups) and share accessories such as filters.

Offering a classic 50mm focal length, the new Panasonic S 50mm f/1.8 prime is a versatile lens for general photography purposes, especially low-light shooting and portraiture, thanks to its bright aperture and normal focal length that provides a pleasing, compressed appearance to subjects. Furthermore, Panasonic has taken special care to make the S 50mm f/1.8 particularly well-suited to video, as well, with a focusing mechanism that minimizes the often-distracting focus breathing and an aperture designed for smooth exposure changes. What’s more, the new Lumix S 50mm f/1.8 lens is significantly lighter in weight, more compact and vastly more affordable than Panasonic’s high-end Lumix S PRO 50mm f/1.4 lens.

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In terms of optical construction, the new Panasonic 50mm f/1.8 lens is comprised of nine total lens elements organized into eight groups, and it includes three aspherical elements, a single ED (Extra-Low Dispersion) element and one UHR (Ultra-High Refractive Index) lens. The aspherical elements help ensure sharp optical performance across the frame and smooth, pleasing bokeh, while the ED lens helps to suppress chromatic aberrations. The lens’s circular 9-bladed aperture diaphragm helps create smooth bokeh performance and nice subject isolation, while the “micro-step aperture control” allows for smooth iris (exposure) adjustments when shooting video.

Panasonic S1R: 50mm, f/1.8, 1/3200, ISO 100
(Image taken pre-production lens firmware.)

As mentioned, the Lumix 50mm f/1.8’s internal linear AF motor is, much like in the earlier 85mm f/1.8 S lens, designed for fast, smooth and quiet autofocusing performance as well as minimal focus breathing, making it a great lens for both photos and video. Close-focusing performance is not a strong suit of this particular optic, but it’s not wildly off from other full-frame 50mm f/1.8 lenses, such as the Canon EF 50mm f/1.8 II or Nikon Z 50mm f/1.8 S lens, for instance. The Lumix 50mm f/1.8 lens has a minimum focusing distance of 0.45m (1.48ft), offering a maximum magnification factor of just 0.14x. Â

Panasonic S1R: 50mm, f/1.8, 1/1600, ISO 100
(Image taken pre-production lens firmware.)

Panasonic S1R: 50mm, f/2, 1/1250, ISO 100
(Image taken pre-production lens firmware.)

In the hand, the Panasonic S 50mm f/1.8 lens is very compact for a bright-apertured, full-frame lens, and is also particularly lightweight, weighing in at just 300g (0.66lbs) or thereabouts. It’s not the smallest or lightest full-frame 50mm f/1.8 lens on the market, but it is very lightweight and portable nonetheless. The lens itself is about 82mm (3.23 in) in length and about 73.6mm (2.90 in) in diameter, though if you had the included locking bayonet-mounted lens look, you’ll add a little under two inches in additional length. When mounted to the large S1R camera body, the lens does appear a bit tiny, but it balances nicely and is easy to shoot one-handed if need be. The 50mm f/1.8 lens would feel right at home on the smaller, lighter Lumix S5 camera, as well.

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Despite the small size, the Lumix 50mm f/1.8 S lens includes a weather-sealed construction, with full a dust- and splash-resistant design and the ability to withstand freezing temperatures down to -10 degrees C (14 deg F). The lens features weather-sealed gaskets on either side of the large focusing ring as well as around the lens mount. The majority of the lens barrel itself is built from rugged and very sturdy-feeling engineering plastic, while the lens mount itself is made out of metal.

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Pricing & Availability

The Panasonic Lumix 50mm f/1.8 lens is set to go on sale in July 2021 with a retail price of $449.99. Additionally, Panasonic states that the 24mm f/1.8 and 35mm f/1.8 lenses are currently under development, however, no availability date nor pricing information has been announced at this time.

Panasonic S1R: 50mm, f/8, 1/160, ISO 100
(Image taken pre-production lens firmware.)

Panasonic S1R: 50mm, f/1.8, 1/3200, ISO 100
(Image taken pre-production lens firmware.)

Panasonic S1R: 50mm, f/1.8, 1/800, ISO 100
(Image taken pre-production lens firmware.)

Note: We were sent a review sample shortly before the announcement. However, the lens currently has pre-production firmware installed. As such, all images published so far are labeled as “pre-production.” To browse more beta sample images from the Panasonic 50mm f/1.8 S lens, head over to our Sample Gallery.

• Panasonic 50mm f/1.8 S Sample Gallery •

The post Panasonic unveils compact and affordable Lumix 50mm f/1.8 S full-frame lens appeared first on Imaging Resource.