Panasonic 25mm 1.4 Firmware Update H-x025 Latest Firmware

Panasonic 25mm 1.4 Firmware Update H-x025 Latest Firmware


Panasonic 25mm 1.4 Firmware Update H-x025 Latest FirmwarePanasonic’s Leica Summilux DG 25mm f1.4 is a loftier quality standard prime lens with an effective focal length of 50mm. Information technology’due south the second Leica-branded lens from Panasonic for Micro Four Thirds, and similar the 45mm f2.viii macro before information technology, Leica designs the optics and Panasonic manufactures it in Nippon. The build quality and manual focusing ring are of a high standard and it delivers slap-up quality results. The f1.4 focal ratio allows you to work in depression low-cal and evangelize a shallow depth of field that can be keen for close-range portraits; indeed I personally find information technology easier to photograph portraits of kids with this lens than longer models. Overall a worthwhile stride-up from the 20mm f1.7 if you like the 50mm coverage and one of my personal favourites, although some owners of Olympus bodies have reported occasional rattling during composition as the discontinuity is adjusted. Note at that place are now a number of 25mm options for Micro 4 Thirds, but I proceed to be drawn to the rendering of this oldie but goodie.

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Panasonic Leica 25mm f1.4 review

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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 on a Micro Four Thirds body it delivers an constructive focal length of 50mm, making information technology a classic standard lens for general-purpose utilize, while the fast f1.4 focal ratio is ideal for use in low light or for achieving a shallow depth of field.

Appear in June 2011, the 25mm f1.iv became the second Leica-branded lens from Panasonic for the Micro Four Thirds system. Like the 45mm f2.eight macro lens earlier it, this means Leica designs the optics and Panasonic carries out the manufacturing under approval in Japan.

Interestingly it was the kickoff Micro Four Thirds lens to deliver so-called standard coverage, equivalent to 50mm on a full-frame body, and since then there’south simply been one culling sharing the same focal length: the Voigtlander 25mm f0.95 which trumps it on focal ratio, but is larger, heavier, manual focus only and costs roughly twice as much. In terms of more affordable alternative primes for general-purpose use, there’southward Panasonic’s own 20mm f1.7 pancake lens with a 40mm equivalent field of view, or the two 17mm options from Olympus with 34mm equivalent fields of view. The Panasonic 20mm f1.7 is of course the closest rival to the 25mm f1.iv and the large question is how they compare not just in terms of quality, just as well potential depth of field, full general flexibility and value for coin. In this review I’ll try and respond all these questions to assist y’all cull the platonic general-purpose lens for your Micro Four Thirds body.

Lumix G 25mm f1.4

Panasonic Leica 25mm f1.4 design, build and focusing

The 25mm f1.four becomes the second Leica-branded lens from Panasonic for the Micro Four Thirds system, and at that place’s more than a passing resemblance with the earlier 45mm f2.8 macro. At first glance, the lenses wait almost identical, sharing a symmetrical mesomorphic barrel, silky smoothen manual focusing ring, 46mm filter thread and smart black coating with lettering in Leica’south squared-off font.

Measuring 63mm in bore and 55mm in length, the 25mm f1.4 is the same width merely a little shorter than its counterpart and lacking the ii switches on the side; there’s no need for a focus limiter on a lens like this, and sadly no prototype stabilization to plough on and off either, so if you’re mounting information technology on a Panasonic body, information technology’ll get an unstabilised combination. Weighing 200g, it feels virtually the same as the 45mm f2.eight in your hands and mounted on a body. It’s obviously a lot larger than the various pancake lenses available for the Micro Four Thirds format and therefore looks most natural on the mini-DSLR styled bodies, but information technology’s not out of identify on the smaller models; indeed I used this lens on a Panasonic GX1 for one yr while traveling and it never felt unbalanced in looks or weight. I’ve pictured it below on a small GF series and with and without its lens hood on a larger Yard series.

Like the 45mm f2.eight before it, the lens is dominated past a broad manual focusing band that’s perfectly damped and silky smooth in operation. It feels similar using one of Canon or Nikon’s top-terminate professional lenses, and after a few moments pushing the band dorsum and forth it’s hard to return to the stiffer and scratchier manual focusing rings of cheaper models like the 20mm It’s especially satisfying to turn when pulling-focus on movies and yous can come across an example below. Of grade if y’all mostly autofocus, then it’ll be of little upshot to you, but even the nigh die-difficult autofocuser will find it hard to suppress a grinning when they turn this beauty. I should notation that similar all Micro Four Thirds lenses, the manual focusing is motor-assisted, not mechanically-linked.

Leica DG Summilux 25mm f1.4 ASPH with Panasonic Lumix G3 sample video: indoors manual-focus

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At the end of the lens is a 46mm filter thread (gratifyingly the same 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 rectangular lens hood which scores ten out of ten for manner, but somewhat less for practicality equally it tin can’t be reversed over the barrel for transportation; rather worryingly the fit on my hood wasn’t that tight and it rattled a lilliputian which isn’t ideal for movies, although I believe it was a pre-production model, so terminal samples should be better. Certainly I tried it with the similarly-styled hood which comes with the 45mm f2.viii and it fitted perfectly – indeed the 45mm hood worked fine without any vignetting on the 25mm which illustrates information technology could have been longer and more effective on the lens it was designed for.

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The overall build quality of the 25mm f1.4 feels very good, better than the kit lenses and unsurprisingly similar the Leica-branded 45mm f2.8 earlier information technology. But also like that lens, the 25mm f1.four is not weather-sealed. Sadly weather-sealing is something which came quite late to the Micro Four Thirds arrangement, so while the Panasonic Leica lenses are premium models with price tags to friction match, they do non sport any kind of environmental sealing – this was a brusk-sighted move since in the year post-obit the launch of the 25mm f1.4, both Olympus and Panasonic announced weather-sealed bodies. Information technology’s a crying shame there’s so many corking lenses for Micro Iv Thirds that tin can’t confidently be used in tough conditions.

Panasonic Leica 25mm f1.four flanked by the two Panasonic 14-42mm kit lenses
From left to correct: Lumix Chiliad 14-42mm Ability Zoom, Leica 25mm f1.4 and Lumix G 14-42mm

The optical design employs nine elements in seven groups with two Aspherical lenses and one Ultra High Refractive Index lens. Information technology was also the commencement Panasonic Micro Four Thirds lens to feature Nano coatings to reduce flare. The closest focusing distance is 0.3m from which information technology’ll evangelize a magnification / reproduction of 0.11x. The aperture is controlled by a seven-bract diaphragm with rounded blades, and you’ll see lots of examples of its potential depth of field throughout my results and sample images pages. There’s no optical stabilisation, then if you lot’re shooting with a Panasonic torso you’ll need to exist enlightened of minimum shutter speeds to avoid camera milk shake; mount it on an Olympus body though and you’ll enjoy the benefits of built-in stabilisation.

In terms of autofocusing, the 25mm f1.4 feels quick and confident whether mounted on a Panasonic or Olympus torso; you’re looking at most one-half a 2d to lock onto a subject with sufficient dissimilarity. I used it a not bad deal equally a portrait lens for kids and constitute it was quick enough to lock onto them before they inevitably moved. In use information technology’s also faster and quieter than the 20mm f1.7, while additionally supporting continuous AF.

As for body compatibility issues, some owners of Olympus bodies, specially the OM-D Eastward-M5 have reported a clicking ‘rattlesnake’ sound when using the 25mm f1.four, tracked-downward to the way Olympus cameras adapt the aperture during composition. This doesn’t impact still image quality, but could be a potential annoyance during composition. Some owners say the issue goes away if yous restart the photographic camera, while others haven’t noticed information technology at all. I’d recommend owners of Olympus bodies search for ’25mm rattlesnake’ to see if it may exist an issue for them or not. In that location are no issues reported when using the lens on Panasonic Lumix Yard bodies.

Panasonic Leica 25mm f1.4 vs Lumix 20mm f1.7

I 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. Well, most obviously the Leica lens is considerably larger: it measures 55x63mm (length past maximum bore) and weighs 200g, compared to the 20mm at 26x63mm and merely 100g. So the new Leica 25mm is roughly twice as long and twice equally heavy, and while it looks well-proportioned on the G3 and GH serial, information technology’s fairly substantial mounted on a GF or Olympus E-PLx. Notation the filter thread on both lenses is identical though, at 46mm.

The Leica DG 25mm has a more than complex optical construction of 9 elements in seven groups, compared to 7 elements in 5 groups on the 20mm. Both share seven diaphragm blades with a round shape and a minimum aperture of f16. Note the Leica DG lens also features Nano surface coating to reduce flare and ghosting. The closest focusing distance on the Leica DG is 50% further though at 30cm versus 20cm, and you practice notice that departure when attempting macro shots with either lens.

Both come supplied with lens pouches and hoods, although the hood on the Leica DG enjoys a very stylish rectangular opening. That said, the hood on my sample was a little loose and rattled at times, which could show distracting on video. I assume this was due to an early version of the hood, just would recommend checking if you intend to film, or prefer – quite rightly – to accept equipment which fits together perfectly. Note the hood won’t reverse over the lens for transportation and adds virtually 40mm to the full length.

Both lenses are pretty simple designs, consisting essentially of a manual focus ring and little else – neither has a focus distance window, which is i differentiator with the full-sized Iv Thirds version of the Leica 25mm. The manual focusing rings on the Leica DG 25mm and G VARIO 20mm may both employ a motor-assisted machinery, but in feel and use are a earth apart. The ring on the G VARIO 20mm feels stiff and a fiddling scratchy with a faint scraping sound on the samples I’ve used. In contrast, the band on the Leica DG feels soft and silky shine, while as well turning in silence. It’s not different to the manual focusing rings on Canon’s top L lenses and feels considerably classier than the G VARIO 20mm. You actually can adapt it by tiny amounts and information technology feels very professional. This alone could swing it for those who manually focus for stills or video.

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In terms of autofocus, the Leica DG is quicker than the One thousand VARIO 20mm – at least when both are mounted on the G3 anyway – and focuses more quietly too. Importantly, information technology also supports Continuous AF on the G3, whereas the G VARIO 20mm does not.

While quicker and quieter AF, along with a much classier manual focusing ring are all nice to accept, the conclusion for many between the two lenses will boil down to focal length and maximum aperture. The Leica DG 25mm is obviously 25% longer, operating at an equivalent of 50mm, compared to an equivalent of 40mm on the Thousand VARIO 20mm. This makes it a more flattering portrait lens, although go too close and y’all’ll notwithstanding endure from some distortion – it’s certainly not an 85mm equivalent.

The maximum discontinuity is f1.iv on the Leica DG 25mm compared to f1.7 on the 1000 VARIO 20mm, giving it simply nether two thirds of a stop of extra calorie-free gathering power. Information technology likewise allows a shallower depth-of-field, further accentuated by a slightly longer focal length.

To illustrate the differences in focal length and aperture, I photographed a portrait at night from a tripod, with the subject’s right eye positioned under the upper-right cross-section of the iii×3 alignment grid as framed at 25mm.

I showtime photographed this with the Leica DG 25mm at f1.four, followed by the G VARIO 14-42mm kit lens, set to 25mm, at which point its maximum aperture was f4.6. I then fitted the Grand VARIO 20mm and photographed the subject from the aforementioned distance, at the maximum discontinuity of f1.7. With the same altitude and a wider focal length, this shot apparently captures a wider field of view with a smaller subject reproduction. I then repeated the test at f1.7, but shifted the tripod closer to the subject until the size matched that of the 25mm samples and the correct eye, again fell below the intersecting grid lines. You lot can click whatever of the images below to admission larger and original sizes at flickr.

Panasonic Leica DG Summilux 25mm at f1.4
Using Panasonic Lumix G3 on tripod

Panasonic Thou VARIO 20mm at
Using Panasonic Lumix G3 on tripod (same distance)

1/20, f1.4, 160 ISO

one/x, f1.vii, 160 ISO

Higher up is the first comparison I’d similar to make: the Leica DG 25mm at f1.4 and the Yard VARIO 20mm at f1.vii, both from taken exactly the aforementioned position and distance. The difference in coverage is quite dramatic, as is the depth-of-field. The Leica DG 25mm with its slightly longer focal length and larger aperture is delivering a tighter, more flattering view with a shallower depth-of-field.

Panasonic Leica DG Summilux 25mm at f1.4
Using Panasonic Lumix G3 on tripod

Panasonic Thou VARIO 20mm at
Using Panasonic Lumix G3 on tripod (matched framing)

1/20, f1.iv, 160 ISO

1/13, f1.7, 160 ISO

To place both lenses on a more level playing field, here’s the same shot from the Leica DG 25mm compared confronting the G VARIO 20mm, when the latter was repositioned closer to the subject field to match the framing. Now the coverage is substantially the same and the depth-of-field much closer, although the larger aperture and slightly longer focal length of the Leica DG even so delivers a shallower depth-of-field. More importantly, to match the subject size, the G VARIO 20mm sample is at present suffering from visible distortion on the face with a less flattering result. You really don’t want to take portraits this close with this lens. And then a clear win for the Leica DG 25mm when information technology comes to photographing tighter portraits.

Panasonic Leica DG Summilux 25mm at f1.iv
Using Panasonic Lumix G3 on tripod

Panasonic Chiliad VARIO 14-42mm at 25mm f4.six
Using Panasonic Lumix G3 on tripod (aforementioned distance)

1/20, f1.four, 160 ISO

1/1.6, f4.6, 160 ISO

Finally, in a higher place is a comparison between the Leica DG 25mm and the G VARIO fourteen-42mm kit lens, the latter set to 25mm at which point the maximum aperture is f4.six. The coverage and perspective from the aforementioned altitude and position are unsurprisingly identical, but clearly there’s a massive difference betwixt the lenses set to their maximum apertures. The Leica DG 25mm enjoys a much shallower depth-of-field, allowing you to really isolate subjects against fifty-fifty relatively close backgrounds, whereas the 14-42mm just cannot compete in this regard.

At present let’s see how the Leica DG 25mm f1.4 measures-upwardly for video.

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-quality 1080 / 60i AVCHD movie mode. Registered members of Vimeo tin can download the original files by clicking the links below each window; these take yous to the Vimeo page where the video is hosted and the link to download the actual file tin can be found under the ‘Nigh this video’ department in the lower right.

Leica DG Summilux 25mm f1.4 ASPH with Panasonic Lumix G3 sample video 1: indoors touch-focus

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In this first video to a higher place, I’ve used the Lumix G3’due south touch-screen to ‘pull-focus’ between the salt shaker and the carte on the tabular array in the groundwork. At that place’s no command over the aperture when filming video with the Lumix G3, although judging from still photos taken from the same position moments before, I’d be confident in maxim this was filmed with the Leica 25mm’southward discontinuity wide-open at f1.four. Since the common salt shaker was positioned close to the minimum focusing distance, the depth of field is very shallow, rendering even the table alongside into a satisfying blur. Unfortunately this likewise means there’s piffling for the G3’s contrast-based AF to get its teeth into and it struggles a petty hither; indeed I struggled a little too to find the menu and table salt shaker to tap on when they were out of focus. As such it’s not surprising to see the contrast AF search a little, but at to the lowest degree the focusing is tranquillity, smooth and fairly swift. Every bit I said in my G3 and GH2 reviews, this is an upshot that’s a doddle to achieve with their touch-screen systems.

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Leica DG Summilux 25mm f1.4 ASPH with Panasonic Lumix G3 sample video 2: indoors manual-focus

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In my second video higher up, I’ve stayed in Queenstown’s Vudu Cafe to moving-picture show a video showing the transmission focusing on the lens. Again the rim of the java loving cup was positioned shut to the minimum focusing distance, but this time I manually focused the lens to the groundwork and dorsum again. The transmission focusing ring on the Leica DG Summilux 25mm is silky smooth and a joy to utilise. Unfortunately there isn’t the focus distance window of the earlier total-sized Four Thirds version of this lens, so you lot’ll need to be careful to note when you’ve reached the desired position. Information technology’southward also a motor-assisted manual focusing system, and with the default settings you’ll need to turn it a lot to go from ane end of the focusing scale to the other – around one revolution in this example. This allows precision control, but in the absenteeism of a focusing rig, it’s hard to proceed the speed constant. The proficient news though is the prune once again illustrates the very shallow depth of field of the lens when set to, I presume again, f1.4. PS – the coffee you see here is my favourite in town, so if you’ve institute whatever of the pages useful here at Cameralabs, experience costless to purchase me a cup! See the top or lesser of the page… Thank you!

Leica DG Summilux 25mm f1.4 ASPH with Panasonic Lumix G3 sample video 3: indoors touch-focus

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In my third video clip above I’ve moved to the bar of Queenstown’south Dux Deluxe for another sit-in of the G3’s bear on-screen focus pulling system. Over again I positioned the camera as close every bit the lens would focus, and again under the dim conditions I await the aperture was automatically broad-open at f1.4. This time I tapped at the neon light in the middle of the frame, then back to the beer labels and back again. With insufficient contrast to focus with at the large discontinuity, the G3 struggles to lock on successfully when returning from the neon light to the lable, just gets information technology on a second attempt. Once more this clip illustrates the very shallow depth of field, although some may not like the concentric circles seen on out-of-focus points of light. Y’all’ll run across these better in the next clip below.

Leica DG Summilux 25mm f1.4 ASPH with Panasonic Lumix G3 sample video 4: indoors transmission-focus

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In my 4th video clip above, I’ve kept the same composition, only switched to manual focus. Like the second clip earlier, it can involve a fair caste of turning before you go from ane end of the focusing calibration to the other, and again it’s hard to maintain a constant speed without a focusing rig. The slower speed hither though gives you a chance to examine some of the indicate sources of calorie-free when out-of-focus, and instead of a smooth circumvolve, you may discover concentric circles, revealing some aspects of the optical construction. This result may or may non bother you. What is certain though from all these clips is it’s very like shooting fish in a barrel to attain a very shallow depth-of-field with this lens when filming video, especially with close subjects.

Leica DG Summilux 25mm f1.iv ASPH with Panasonic Lumix G3 sample video 5: outdoors manual-focus

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In my fifth video clip above, I filmed an outdoor ice rink at nighttime. I set up the photographic camera to manual focus and adapted information technology throughout the entire range from the closest to the furthest altitude, while also panning slowly from left to right.

Now it’s time to motion onto an analysis of the all the same image quality in my
Panasonic Leica 25mm f1.iv quality
results. Alternatively you can browse a option of total-resolution
Panasonic Leica 25mm f1.iv sample images
under a variety of conditions, or if you’ve seen plenty, skip direct to my

Panasonic 25mm 1.4 Firmware Update H-x025 Latest Firmware

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