Panasonic Leica 25mm f1.4 review
Summary
Panasonic's Leica Summilux Decigram 25mm f1.4 is a high lineament standard prime Lens with an good focal distance of 50mm. It's the back Leica-branded genus Lens from Panasonic for Micro Four Thirds, and like the 45mm f2.8 macro in front it, Leica designs the optics and Panasonic manufactures it in Japan. The frame select and manual focusing ring are of a high canonic and it delivers great quality results. The f1.4 f number allows you to work in low light and deliver a shallow profundity of field of study that can be peachy for close-range portraits; indeed I personally find it easier to photograph portraits of kids with this lens than longer models. Overall a worthwhile step-up from the 20mm f1.7 if you like the 50mm insurance coverage and one of my personal favourites, although roughly owners of Olympus bodies have reported unpredictable brisk during composition As the aperture is adjusted. Note there are now a number of 25mm options for Micro Four Thirds, only I continue to embody drawn to the translation of this oldie merely goodie.
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Panasonic Leica 25mm f1.4 review -
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Introduction
The Panasonic Leica Summilux DG 25mm f1.4 is a standard lens for Micro Four Thirds cameras, including Panasonic Lumix G, Olympus PEN and Olympus OMD models. Mounted happening a Micro Iv Thirds body it delivers an effective focal distance of 50mm, making it a classic standard crystalline lens for general-purpose use, while the degraded f1.4 focal ratio is ideal for use in low light operating theatre for achieving a neritic depth of field.
Announced in June 2011, the 25mm f1.4 became the second Leica-branded lens from Panasonic for the Micro Little Jo Thirds system. Like the 45mm f2.8 macro instruction lens before IT, this substance Leica designs the optics and Panasonic carries out the manufacturing subordinate approval in Japan.
Interestingly it was the forward Small 4 Thirds lens to deliver so-called standard coverage, equivalent to 50mm happening a ample-frame consistence, and since then there's only been one alternative sharing the aforesaid focal duration: the Voigtlander 25mm f0.95 which trumps it on focal ratio, but is larger, heavier, manual concentre only and costs some double as much. In terms of more cheap alternative primes for general-desig use, there's Panasonic's own 20mm f1.7 pancake lens with a 40mm equivalent discipline of view, or the two 17mm options from Olympus with 34mm equivalent fields of take i. The Panasonic 20mm f1.7 is of course the nearest rival to the 25mm f1.4 and the large inquiry is how they compare not upright in terms of quality, but besides potential difference depth of field, cosmopolitan flexibility and value for money. In that follow-up I'll try and reply all these questions to help you take the nonsuch all-purpose lens for your Little Four Thirds body.
Panasonic Leica 25mm f1.4 design, build and focal point
The 25mm f1.4 becomes the second Leica-branded lens from Panasonic for the Micro Cardinal Thirds system, and there's Sir Thomas More than a temporary resemblance with the sooner 45mm f2.8 macro. At first peek, the lenses aspect almost identical, share-out a symmetrical chunky barrel, sleek smooth manual focusing circle, 46mm filter wind and smart black coating with lettering in Leica's squared-off font.
Measuring 63mm in diameter and 55mm in duration, the 25mm f1.4 is the same width but a bit shorter than its counterpart and lacking the 2 switches unofficially; there's no need for a focus limiter on a lens system like this, and sadly no image stabilization to turn happening and off either, so if you'Ra climbing IT on a Panasonic body, information technology'll become an unstabilised combination. Advisement 200g, it feels virtually the same as the 45mm f2.8 in your custody and adorned on a body. It's obviously a lot larger than the several pancake lenses getable for the Micro Four Thirds format and therefore looks most natural happening the mini-DSLR styled bodies, merely it's non exterior of place on the little models; indeed I used this electron lens on a Panasonic GX1 for united yr while traveling and information technology never felt crazy in looks operating theater weight. I've pictured it below along a small GF series and with and without its lens cowl happening a larger G series.
Comparable the 45mm f2.8 in front IT, the lens is controlled by a wide manual focusing ring that's perfectly damped and silky smooth in operation. It feels like using one of Canyon or Nikon's top-end professional lenses, and later on a few moments pushing the ring back and forth information technology's hard to return key to the stiffer and scratchier manual focusing rings of cheaper models corresponding the 20mm f1.7. Information technology's particularly satisfying to deform when pulling-revolve around movies and you can construe with an example under. Of course if you mostly autofocus, so it'll exist of pocket-size consequence to you, but even the most expire-hard autofocuser will get it hard to inhibit a smile when they turn this smasher. I should note that like all Micro Four Thirds lenses, the manual focalization is motor-assisted, not mechanically-coupled.
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At the closing of the lens is a 46mm filter weave (gratifyingly the very as the Panasonic 20mm f1.7, 45mm f2.8 and Olympus 45mm f1.8), and a bayonet mount for a lens hood. My test sample was supplied with a angulate lens hood which scores ten out of cardinal for style, but somewhat less for practicality as it can't be reversed over the cask for transportation; rather worryingly the suitable on my strong-arme wasn't that tight and information technology rattled a little which isn't ideal for movies, although I believe information technology was a pre-product model, so unalterable samples should equal amend. Certainly I tried information technology with the likewise-styled hood which comes with the 45mm f2.8 and it fitted perfectly – indeed the 45mm hood worked fine without whatsoever vignetting on the 25mm which illustrates it could have been longer and more effective on the lens system it was studied for.
The overall build quality of the 25mm f1.4 feels real good, better than the kit lenses and unsurprisingly like the Leica-proprietary 45mm f2.8 earlier information technology. Only also like that lens, the 25mm f1.4 is not weather condition-sealed. Sadly weather-sealing is something which came quite unpunctual to the Micro Four Thirds system, so while the Panasonic Leica lenses are agio models with cost tags to match, they practise not sport any kind of environmental sealing – this was a short-sighted move since in the yr following the launch of the 25mm f1.4, both Olympus and Panasonic announced weather-paved bodies. IT's a crying shame there's and then many cracking lenses for Micro Four Thirds that can't confidently be used in rugged conditions.
| Panasonic Leica 25mm f1.4 flanked by the two Panasonic 14-42mm kit lenses |
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| From left-wing to right: Lumix G 14-42mm Power Zoom, Leica 25mm f1.4 and Lumix G 14-42mm |
The optical design employs nine elements in seven groups with 2 Aspherical lenses and one Radical High Index of refraction lens. It was also the opening Panasonic Micro Four Thirds lens to feature Nano coatings to shorten flare. The closest focusing distance is 0.3m from which it'll deliver a magnification / reproduction of 0.11x. The aperture is controlled by a seven-blade midriff with rounded blades, and you'll construe wads of examples of its potency depth of area throughout my results and sample images pages. There's zero sensory receptor stabilisation, so if you're shooting with a Panasonic torso you'll need to be aware of minimum shutter speeds to avoid camera shake up; mount it on an Olympus body though and you'll savour the benefits of built-in stabilisation.
In footing of autofocusing, the 25mm f1.4 feels quick and confident whether mounted on a Panasonic or Olympus consistency; you're looking at about half a second to lock onto a subject with sufficient dividing line. I used it a great deal equally a portrayal lens for kids and found information technology was intelligent sufficient to lock onto them before they inevitably moved. In use it's also faster and quieter than the 20mm f1.7, while in addition supporting continuous AF.
As for body compatibility issues, some owners of Olympus bodies, especially the OM-D E-M5 have according a clicking 'rattlesnake' sound when using the 25mm f1.4, tracked-dispirited to the way Olimbos cameras adjust the aperture during composition. This doesn't affect still image quality, only could be a potential drop annoyance during composition. Some owners allege the issue goes away if you resume the television camera, while others harbor't noticed it at every. I'd recommend owners of Olimbos bodies search for '25mm rattlesnake' to catch if it English hawthorn be an issue for them or non. There are atomic number 102 issues reported when exploitation the lens on Panasonic Lumix G bodies.
Panasonic Leica 25mm f1.4 vs Lumix 20mm f1.7
One of the big questions regarding the Leica DG Summilux 25mm f1.4 is how it compares to Panasonic's original 20mm f1.7 pancake lens. Comfortably, most obviously the Leica lens is considerably larger: it measures 55x63mm (length by maximum diam) and weighs 200g, compared to the 20mm at 26x63mm and just 100g. And then the new Leica 25mm is roughly twice as long and twice as weighted, and while it looks shapely on the G3 and GH series, IT's fairly substantial mounted along a GF surgery Olympus E-PLx. Note the filter thread on some lenses is monovular though, at 46mm.
The Leica DG 25mm has a more multiplex optical construction of ennead elements in vii groups, compared to seven elements in quint groups happening the 20mm. Both share seven diaphragm blades with a circular frame and a minimum aperture of f16. Note the Leica DG lens also features Nano opencut coating to reduce flare and ghosting. The closest focusing distance happening the Leica DG is 50% further though at 30cm versus 20cm, and you do notice that difference when attempting macro shots with either lens.
Both come equipped lens pouches and hoods, although the hood on the Leica Decigram enjoys a very stylish rectangular chess opening. That aforementioned, the hood on my sample was a little loose and rattled at multiplication, which could prove distracting on video. I put on this was due to an early interpretation of the hood, but would advocate checking if you intend to film, or prefer – quite justifiedly – to have equipment which fits together perfectly. Note the hood won't setback concluded the lens for fare and adds about 40mm to the total length.
Both lenses are pretty simple designs, consisting essentially of a non-automatic focus on doughnut and trivial else – neither has a focus distance windowpane, which is one discriminator with the full-sized Four Thirds version of the Leica 25mm. The manual focalization rings on the Leica Decigram 25mm and G VARIO 20mm may both apply a motor-assisted mechanism, but in feel and use are a world apart. The ring on the G VARIO 20mm feels stiff and a little scratchy with a faint scraping sound on the samples I've used. In contrast, the ring on the Leica DG feels light and silky smooth, while also turn in silence. Information technology's non dissimilar to the manual focusing rings on Canon's upper side L lenses and feels substantially classier than the G VARIO 20mm. You really can line up information technology aside tiny amounts and IT feels very professional. This alone could vacillatio it for those WHO manually center for stills or video.
In terms of autofocus, the Leica Decigram is faster than the G VARIO 20mm – at least when some are mounted on the G3 anyway – and focuses more quietly too. Importantly, it also supports Continuous AF on the G3, whereas the G VARIO 20mm does not.
While faster and quieter AF, along with a much classier extremity focusing ring are all respectable to have, the decision for many between the two lenses will boil down to focal length and utmost aperture. The Leica DG 25mm is obviously 25% yearner, operating at an equivalent of 50mm, compared to an equivalent of 40mm on the G VARIO 20mm. This makes it a more adulatory portrait lens, although get too close and you'll still suffer from around distortion – it's sure non an 85mm equivalent.
The maximum aperture is f1.4 along the Leica DG 25mm compared to f1.7 happening the G VARIO 20mm, giving information technology just under deuce thirds of a stop of additive light gathering power. It too allows a shallower depth-of-field, far accentuated by a slimly longer focal distance.
To illustrate the differences in central length and aperture, I photographed a portrait at night from a tripod, with the branch of knowledg's right on center positioned under the upper-right cross-section of the 3×3 alinement power system as framed at 25mm.
I first photographed this with the Leica DG 25mm at f1.4, followed by the G VARIO 14-42mm kit lens, arrange to 25mm, at which compass point its maximum aperture was f4.6. I then fitted the G VARIO 20mm and photographed the subject from the very distance, at the maximum aperture of f1.7. With the same distance and a wider focal distance, this shot obviously captures a wider field of perspective with a smaller subject reproduction. I then perennial the test at f1.7, merely shifted the tripod finisher to the subject until the size matched that of the 25mm samples and the right eye, again fell at a lower place the intersecting power system lines. You can snap any of the images beneath to access large and original sizes at flickr.
| Panasonic Leica DG Summilux 25mm at f1.4 | Panasonic G VARIO 20mm at f1.7 |
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| 1/20, f1.4, 160 ISO | 1/10, f1.7, 160 ISO |
Higher up is the first comparison I'd like to make: the Leica Decigram 25mm at f1.4 and the G VARIO 20mm at f1.7, both from taken exactly the same position and distance. The difference in insurance coverage is quite dramatic, as is the depth-of-field. The Leica Decigram 25mm with its slightly thirster focal length and larger aperture is delivering a tighter, many flattering view with a shallower profundity-of-field.
| Panasonic Leica DG Summilux 25mm at f1.4 | Panasonic G VARIO 20mm at f1.7 |
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| 1/20, f1.4, 160 ISO | 1/13, f1.7, 160 ISO |
To set out both lenses on a more level playing field, here's the same shot from the Leica DG 25mm compared against the G VARIO 20mm, when the last mentioned was repositioned closer to the subject to pair the framing. Now the coverage is in essence the same and the profoundness-of-field much nearer, although the larger aperture and slenderly longer point length of the Leica DG still delivers a shallower depth-of-field. To a greater extent importantly, to check the subject size, the G VARIO 20mm sample distribution is now suffering from visible straining on the face with a less flattering result. You really don't want to take portraits this equal with this lens. Thus a nett win for the Leica DG 25mm when IT comes to photographing tighter portraits.
| Panasonic Leica Decigram Summilux 25mm at f1.4 | Panasonic G VARIO 14-42mm at 25mm f4.6 |
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| 1/20, f1.4, 160 ISO | 1/1.6, f4.6, 160 ISO |
At last, above is a comparison between the Leica DG 25mm and the G VARIO 14-42mm kit out lens, the latter put on to 25mm at which full point the maximum aperture is f4.6. The coverage and perspective from the same distance and position are unsurprisingly identical, but clearly there's a massive difference between the lenses set to their supreme apertures. The Leica Decigram 25mm enjoys a much shallower depth-of-field, allowing you to very keep apart subjects against smooth relatively faithful backgrounds, whereas the 14-42mm just cannot vie in this affect.
Now let's see how the Leica DG 25mm f1.4 measures-up for picture.
Sample videos using the Leica DG Summilux 25mm f1.4
Here are a selection of sample videos filmed with the Leica DG Summilux 25mm f1.4 ASPH using the Panasonic Lumix DMC-G3 and its best-character 1080 / 60i AVCHD picture show mode. Registered members of Vimeo can download the original files by clicking the links beneath each window; these take you to the Vimeo Sri Frederick Handley Page where the video is hosted and the link to download the factual file can be found under the 'About this TV' section in the lower perpendicular.
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In this starting time video above, I've used the Lumix G3's touch-screen to 'pull-focus' between the salt Shaker and the menu happening the table in the background. There's nobelium ascendancy over the aperture when motion-picture photography video with the Lumix G3, although judgment from calm down photos appropriated from the same position moments ahead, I'd be confident in saying this was recorded with the Leica 25mm's aperture wide-open at f1.4. Since the salt shaker was positioned close at hand to the stripped direction outstrip, the profundity of field is very reefy, rendering even the table aboard into a gratifying blur. Unfortunately this also means in that location's little for the G3's contrast-based AF to get its teeth into and it struggles a little hither; indeed I struggled a little too to find the menu and SALT shaker to tap on when they were out of focus. In and of itself it's non unexpected to see the contrast AF search a little, but leastways the focusing is quiet, fine and fairly swift. As I said in my G3 and GH2 reviews, this is an effect that's a doddle to reach with their touch-screen out systems.
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In my second video above, I've stayed in Queenstown's Vudu Coffeehouse to moving-picture show a video showing the manual focusing happening the lens. Once more the rim of the coffee cupful was positioned more or less the lower limit focusing distance, only this time I manually focused the lens to the background and back again. The manual focusing ring connected the Leica Decigram Summilux 25mm is slick wax-coated and a joy to use. Unfortunately there ISN't the focus distance window of the earlier rich-sized Four Thirds version of this lens, so you'll need to be careful to note when you've reached the desired position. Information technology's also a drive-assisted manual focusing organisation, and with the default settings you'll need to sour it a lot to start from one conclusion of the focusing scale to the other – around unrivalled revolution in this lesson. This allows precision verify, but in the absence of a focusing rig, it's severely to keep the speed constant. The good news show though is the clip once more illustrates the very shallow astuteness of field of the lens when set to, I presume once more, f1.4. Postscript – the coffee you learn here is my favourite in town, so if you've found any of the pages useful here at Cameralabs, tone free to buy ME a loving cup! See the top or bottom of the Page… Cheers!
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In my third video clip above I've moved to the bar of Queenstown's Dux Deluxe for other demonstration of the G3's touch-screen focus pull system. Once again I positioned the camera as close as the lens would focus, and again under the dim conditions I expect the aperture was automatically wide-surface at f1.4. This time I tapped at the Ne light in the middle of the systema skeletale, then back to the beer labels and back once more. With scant contrast to focus with at the large aperture, the G3 struggles to lock in on successfully when reverting from the Ne light-headed to the lable, but gets it on a second attempt. Over again this crop illustrates the very fordable depth of field, although some may non like the concentric circles seen along out-of-focus points of light. You'll insure these better in the next clip below.
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In my fourth video clip above, I've kept the same composition, but switched to extremity focussing. Wish the second gear clip earlier, it can involve a fair degree of turn in front you get from extraordinary end of the focusing scale to the past, and again IT's difficult to maintain a constant speed without a focusing turnout. The slower speed here though gives you a chance to examine much of the distributor point sources of light when unsuccessful-of-focus, and instead of a smooth circle, you may notice concentric circles, revealing any aspects of the sensory system construction. This effect may Oregon whitethorn not bother you. What is certain though from all these clips is it's very easy to attain a very shoaly depth-of-area with this lens when filming video, particularly with close subjects.
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In my fifth video recording jog above, I filmed an outdoor shabu rink at night. I set the camera to manual focus and adjusted it throughout the entire range from the closest to the furthest distance, patc also panning slowly from liberal to right.
Now it's meter to move onto an analytic thinking of the still image prize in my Panasonic Leica 25mm f1.4 quality results. Alternatively you can browse a selection of full-resolution Panasonic Leica 25mm f1.4 sample images under a variety of conditions, OR if you've seen enough, hop on straight to my verdict.
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Panasonic Leica 25mm f1.4 review
Source: https://www.cameralabs.com/panasonic_leica_dg_summilux_25mm_f1-4_h-x025/
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