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  • Update: Availability of Sony A77, A65, NEX-5N, NEX-7 and New Lenses

    As noted in our previous post comparing the features of the Sony A77 and Sony A65, we have received a lot of interest in the new Sony cameras and lenses that were recently announced: Sony A77, A65, NEX-5N, NEX-7, SAL1650, SEL24F18Z, SEL50F18, and the SEL55210. A lot of the interest has been a curiosity in when these new products will be made available. We were able to get a release schedule from Sony, and we are providing this information here. Each item links to our website where you will be able to purchase the items when we receive them in stock. If you would like to pre-order an item to be one of the first to receive the product, please contact us at sales@gmcamera.com, or (802) 244-0883. All pre-orders are first come, first serve. We currently have all of these products on order with Sony, and will therefore be part of the first shipments as the products are released.

    Release Schedule for Sony A77, A65, NEX-5N, NEX-7, and New Lenses

    Sony NEX-5N Body Only (Black) First Week of September
    Sony NEX-5N 18-55mm Lens Kit (Black) First Week of September
    Sony NEX-5N 18-55mm Lens Kit (Silver) First Week of September
    Sony Alpha SLT-A65 Body Only Mid-to-Late October
    Sony Alpha SLT-A65 18-55mm Lens Kit Mid-to-Late October
    Sony Alpha SLT-A77 Body Only Mid-to-Late October
    Sony Alpha SLT-A77 16-50mm f/2.8 Lens Kit Mid-to-Late October
    Sony NEX-7 Body Only Early November
    Sony NEX-7 18-55mm Lens Kit Early November
    Sony DT 16-50mm f/2.8 SSM Lens (SAL1650) Early November
    Carl Zeiss Sonnar T* E 24mm f/1.8 Lens (SEL24F18Z) Early December
    Sony E 50mm f/1.8 OSS Lens (SEL50F18) Mid December
    Sony E 55-210mm f/4.5-6.3 OSS Lens (SEL55210) Mid-to-Late October
  • Sony Alpha A65 and A77 Feature Comparison

    We recently reported on Sony's introduction of the Alpha SLT-A65 and Alpha SLT-A77. That post has received a lot of interest and we have already started to receive a lot of questions. A question that we are hearing again and again is "What are the main differences between the A65 and the A77?"  We decided there has been enough interest and enough people asking this question that we should just post the main differences here.

    Sony Alpha A65 and A77 Feature ComparisonOne big factor that differentiates the two cameras is the pre-packaged kit lens. The A65 is available as body only or with the Sony 18-55mm lens as a kit. The A77 is also offered as body only, but is also offered with the new 16-50mm f/2.8 lens as a kit. That difference alone may be appealing for some customers to decide one way or the other, and there is a big difference in price to support that decision. The A65 body is $900, and the kit is $1000. The A77 body is $1400 and the kit is $2000. Customers who already have a strong investment in Sony and Minolta glass may not care too much, and will opt for the body only approach. If you are interested in the A77 and acquiring the new 16-50mm f/2.8, the kit is $100 less than buying the lens and body separately (the lens as a standalone purchase is $700).

    Certainly there are more differences than just that:

    A65 A77
    Strong Polycarbonate Body Magnesium Alloy Body with Moisture & Dust Resistance
    Up to 10 FPS with AF In Speed Priority AE Up to 12 FPS with AF In Speed Priority AE
    2-Way Tilt TruBlack LCD 3-Way Tilt TruBlack LCD
    15-point AF; 3-cross type 19-point AF;11-cross Type
    Single Front Dial & Function Button Front & Rear Dials, top LCD Panel, Multi-direction Control Stick & Function Button
    1/4000th Sec. Top Shutter Speed
    1/160th Sec. Flash Sync Speed
    1/8000th Sec. Top Shutter Speed
    1/250th Sec. Flash Sync Speed
    + / - 3.0 EV + / - 5.0 EV
    Optional Vertical Grip
    DMF Direct Manual Focus Function
    Programmable 3 Memory Recall Function
    PC Flash Sync Post
  • Nikon Announces 6 New COOLPIX Cameras (P7100, S6200, S8200, S100, AW100, S1200pj)

    Yesterday we reported on Sony's announcement of some new digital cameras and lenses. While it took most of the day for us to update the blog and our website for these new products, we neglected to report on the introduction of new Nikon Coolpix digital cameras. Unfortunately, as the saying goes, there just aren't enough hours in the day. We have just updated our website with Nikon's new Coolpix's and are now happy to report on their introduction to the world.

    Nikon COOLPIX P7100 Digital Camera

    Nikon COOLPIX P7100 Digital Camera

    The flagship Coolpix model, the P7000, is getting an upgrade with the new Nikon COOLPIX P7100. The Nikon P7100 is not a total revamping of the P7000, which makes sense, otherwise Nikon would have probably named it something like the P8000. The megapixel count and lens (28-200mm equivalent) appear to be untouched. Nikon does state the image processing speed has been increased, in addition to better noise reduction for sharper, cleaner images. Many P7000 users will approve of Nikon's claim that the P7100 will have a "high-speed response with faster power-up time, focus acquisition and shooting time lag...." One issue many P7000 users had was the focus acquisition lag time. Two major physical changes are a new vari-angle LCD for the atypical shooting situation, and a front control knob for quick custom setting changes.

    Nikon P7100 Vari-Angle LCD Monitor

    Nikon P7100 Vari-Angle LCD Monitor

    Nikon has also upgraded the S8100 and S6100 COOLPIX digital cameras with the Nikon Coolpix S8200 (black, silver, red) and Coolpix S6200 (red, black, silver, blue, pink). Again, the small bump in model number suggests some small improvements. The Nikon S8100 was a very popular camera for us and we sold a ton of them. So, we naturally welcome an upgrade to this camera with the hope the S8200's performance will be improved along with the new model number. Both cameras get a longer zoom, which is what made them popular in the first place. The S8200 now boasts a 14x optical zoom (S8100 was 10x), and the S6200 features a 10x zoom (S6100 was 7x). It is quite incredible that Nikon is able to fit such extensive zooms in these cameras considering how compact--especially the S6100/S6200--they are. They really are pocket-able cameras.

    Nikon COOLPIX S8200 Digital Camera

    Nikon COOLPIX S8200 Digital Camera

    Nikon COOLPIX S6200 Digital Camera

    Nikon COOLPIX S6200 Digital Camera

    The S80 has received a kick with the new Nikon Coolpix S100 (red, black, gold, purple). If you are not familiar with the S80, the Nikon S100 continues a long line of compact, touch-screen digital cameras. It wasn't too long ago that these touch screens were low-resolution and not very responsive to touch. The S80 showed us a nice, big, bright, responsive, and detailed screen. The OLED screen we saw in the S80 will again be in the S100, which we welcome because it was a good screen. The S100 styling looks to now be ultra-thin (less than an inch in thickness), and in Nikon's words "Ultra-chic". You can tell from Nikon's marketing this camera was designed for a specific demographic when they use phrases like "dance floor", "curves", etc.. That is not to say this camera cannot be for everyone, however. We have sold the S80 for many specific purposes. The first one that comes to mind is when we sold an S80 to researchers because they wanted to write a tag on each image as they were being taken to later identify the images for the research project being conducted.

    Nikon COOLPIX S100 Touch-Screen Digital Camera

    Nikon COOLPIX S100 Touch-Screen Digital Camera

    It wasn't too long ago that Nikon first introduced the S1000pj. It seemed like that was quickly upgraded with the S1100pj. If you are unfamiliar with these cameras, they are a truly unique crop of technology. These Coolpix cameras feature a built-in projector. The Nikon projector cameras have always been marketed with nostalgia in mind. There was really nothing like getting a group of people together, loading up the slide projector, and having an evening of photo sharing while staring at a wall. The S1000pj and S1100pj attempted to jettison this past time into the present tense. Nikon has now introduced the next generation of these cameras with the Coolpix S1200pj (black, pink). The Nikon S1200pj has now truly launched the projector camera line into this century with the ability to connect directly to iPods and iPhones, and project content like photos and videos from those devices.  With the S1000pj, you were only able to project what was on the camera. Then the S1100pj added the ability to connect other devices. Now the S1200pj is able to do all of that plus connect to handheld devices. This will make the S1200pj more useful for many different types of people than ever. One interesting thing that we have found with these projector cameras is that Artists love them. Go ahead, project details of landscapes, portraits, or whatever, directly on your canvas.

    Nikon COOLPIX S1200pj 14.1 MP Digital Camera with Built-In Projector (Pink)

    Nikon COOLPIX S1200pj Digital Camera with Built-In Projector

    We have intentionally saved the sixth camera of all the new Nikon Coolpix digital cameras for last. With the above five cameras they are all an upgrade, or improvement, on already established camera types. This camera is a brand-new type of Coolpix for Nikon, however, and something we have not seen in Coolpix cameras. The Nikon COOLPIX AW100 (orange, black, blue) is Nikon's first underwater point-and-shoot digital, Coolpix camera. The new AW series is waterproof to a depth of 33 ft., shockproof from a drop of about 5 ft. up, and freezeproof down to about 14 degrees Fahrenheit. In addition, it is packed with features like GPS and "e-Compass". Yes, if you are lost in the woods with this camera, you can find your way out (hopefully) with the built-in compass. The AW100 is 16 megapixels and has a 5x optical zoom lens (non-extending so it can't get bumped and broken). Nikon has introduced a new case to go along with the AW series also, and it features a carabiner for quickly attaching the case to whatever is available.

    Nikon COOLPIX AW100 Waterproof Digital Camera

    Nikon COOLPIX AW100 Waterproof Digital Camera

    Nikon COOLPIX All Weather Sport Case

    Nikon COOLPIX All Weather Sport Case

  • First Look at the New Olympus M.Zuiko Digital 14-42mm f/3.5-5.6 IIR MSC Lens

    Olympus M.Zuiko Digital 14-42MM f/3.5-5.6 2R MSC Zoom Lens (Silver)

    Today we received our first shipment of the Olympus M.Zuiko Digital 14-42mm f/3.5-5.6 IIR (2R) MSC lens. We received them in both black and silver. We were curious to see how the lens looked and felt compared to the previous version (II, non-R). So, we decided to place the two lenses next to each other and take a couple pictures. What we quickly discovered is that both lenses are essentially identical in size. After the photo shoot we even gave them a quick weighing and found them to be essentially identical in weight too, both weighing in at approximately 110-112g.

    Olympus M.Zuiko Digital 14-42MM f/3.5-5.6 2R MSC Zoom Lens

    As mentioned, and as you can see, the two lenses are approximately the same height when collapsed. The newer lens (on the left), does appear to be a little bit taller, but this is just an optical illusion. There is actually a cosmetic cap that covers the bayonet mount, where you can add a dedicated lens hood (not included). We like this cap. We think it keeps things looking really clean. The only problem we can foresee is, what do you do with it when you use the dedicated hood? Seems like a piece that can get easily lost...

    Olympus M.Zuiko Digital 14-42MM f/3.5-5.6 2R MSC Zoom Lens

    Here is the lens with that cover removed (don't lose it!). Just a simple bayonet mount under there.

    Olympus M.Zuiko Digital 14-42MM f/3.5-5.6 2R MSC Zoom LensEven with the lenses fully extended, both are essentially the same size.  Here you can see that both lenses are fully extended to 42mm.

    Olympus M.Zuiko Digital 14-42MM f/3.5-5.6 2R MSC Zoom Lens

    Here's a top view of both lenses next to each other. Everything looks pretty much identical. The new lens still uses a 37mm filter. At this angle you can see how that cover we've been talking about really makes the lens look sleek and clean.

    You might now be wondering, what does the lens look like on camera? Well, here it is on an E-PL2.

    Olympus M.Zuiko Digital 14-42MM f/3.5-5.6 2R MSC Zoom Lens

    Looks pretty good, but not as good as on the E-P3. The E-P3 and E-PL3 are definitely designed with this lens in mind. The silver of this lens, as you may have already noticed, is different in shade than the silver of the previous version lens. It is a darker shade, and so it doesn't match the shade of the silver E-PL2 as well.

    Finally, it looks nice, but how does it feel? The lens feels good, but you can definitely feel the difference in the gnarling of the grip around the zoom and focus. The grip doesn't feel as "catchy" as the previous version. Having said that, we didn't have any problem with our fingers slipping while on the grip. We did notice, to our surprise, a big improvement in the feel of the manual focus. The manual focus ring felt better dampened. Whereas, with the previous version, the manual focus felt loose and airy, the manual focus of the newer version lens feels tighter and more firm.

  • A Review of the Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    We have to honest. Any time there is an announcement for a fixed-focal length, fast-aperture lens, we get pretty excited. Actually, that is a lie. We get VERY excited. When Olympus announced the 12mm f/2.0 and the 45mm f/1.8 we were happy for the micro four thirds market. Now that there are some years behind the mFT movement, and there are many individuals who have become entrenched in the system, it is great to see some serious additions from Olympus. That is not to say lenses like the 17mm f/2.8 or the 9-18mm f/4.0-5.6 are not serious, but these lenses simply feel necessary, unlike the 12mm f/2.0, which took a lot of people by surprise with its announcement. In addition, the physical design of the lens looks like more effort was put into thinking about its look, feel, and use.

    We have heard some people say differently, but we think the 12mm f/2.0 looks great. The compact, clean, and metallic design complements the PEN cameras brilliantly. In addition, the 12mm f/2.0 is extremely light weight at a mere 130g. Normally we are a little hesitant with light lenses. Typically when you feel a light lens in your hand, it feels cheap. And, in our experience, that is usually the correct assumption. A lot of plastic is substituted where metal should have been used. In the case of the 12mm f/2.0, although it is very light, it does feel very solid. It may use a lot of plastic (we aren't sure, but we can see the mount is metal), but it certainly does not feel that way.

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Metal Mount of Olympus 12mm f/2.0

    The dimensions of the lens are compact, which is great for use with a mFT camera. The lens does not protrude too much, and the balance feels great in the hands.

    Olympus PEN E-PL2 with 12mm f/2.0

    Olympus PEN E-PL2 with 12mm f/2.0

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus 12mm f/2.0 Next to a Nickel

    One of the really neat things about this lens is the "snap focus" feature. This is one of the reasons why we feel like the 12mm f/2.0 is a more "serious" product for the mFT market, and why we feel like Olympus really put a lot of thought into this lens. In many of the lighter, made-for-digital, and more plastic lenses we have seen, the manual focus is horrible. The manual focus usually feels very loose and "disconnected" from the lens. With the 12mm f/2.0, the focus ring actually snaps from auto to manual focus, just by pulling back (towards the camera) on the focus ring.

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Manual Focus Engaged

    Once the manual focus is engaged, a distance scale is revealed, and the focus has a well-dampened movement. The dampening is excellent and reminds us of dedicated manual focus lenses, which is exactly the feel Olympus was trying to recreate. In addition, the manual focus with this lens is extremely easy. Easy in the sense that fine focus just seems to "snap" in to place. It is difficult to describe without seeing or feeling. We did create a short video to highlight the manual focus of the 12mm f/2.0, and we hope it gives you a better idea of how it all works.

    In talking about the manual focus, we should not let it distract us from the autofocus of this lens. The 12mm f/2.0 autofocus is extremely quick for mFT, and it is also extremely quiet, which Olympus attributes to the MSC (movie-still-compatible) mechanism. MSC essentially eludes to the fact that the quiet autofocus will not ruin videos produced with this lens because of annoying autofocus noises being recorded by the camera's internal mic. The fast, quiet autofocus is certainly a big advantage for both stills and video.

    With the compact size, light weight, solid feel, and fast autofocus, this lens was a treat to hold and use. In looking at and feeling the lens, it seemed like it had everything going for it, so we were anxious to take it out for some sample images. As much as we were pleased with the aspects of the 12mm f/2.0 mentioned above, we were thrilled with the image quality. Shot after shot taken with the lens left us impressed with the results. We found the sharpness to be top-notch, the contrast to be, well, contrasty, but not overly so, the chromatic aberrations were a minimum, the distortion was manageable for a 24mm (in 35mm terms) equivalent, and the color and clarity was superb.

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensThis was a difficult shot for a lens, but from this image you would not necessarily think it so. Just out of frame in the upper, right-hand corner was the sun. There were no clouds covering the sun, so it was directly approaching the front of the lens, although there were some trees to shield some of its power. I was surprised that the image held up as well as it did without any flaring or overall decrease in contrast.

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensThe level of detail retained by this lens is very impressive. You can see how sharp the above image really is from this crop.

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensWe liked really liked and appreciated the overall brilliance, clarity, and color produced by this lens. The colors are pleasing, but still realistic to how we remember the scene.

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensOlympus M.Zuiko Digital ED 12mm f/2.0 LensOlympus M.Zuiko Digital ED 12mm f/2.0 LensWith this image I took some artistic liberty. When I saw this booth, I thought it would be cool if you could see the back and the front at the same time. So, I decided to do just that, and cropped two images and spliced them into one.

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensOlympus M.Zuiko Digital ED 12mm f/2.0 LensThe image of Charlie was taken indoors and so the ISO was higher than some of the other images I took. Although the higher ISO detracts from the overall detail of the image, you can still see that with this lens there is still plenty of detail even when cropped in close.

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensOlympus M.Zuiko Digital ED 12mm f/2.0 LensIn this image taken outdoors with a lower ISO, there is a great amount of detail. You can pick up spots of dirt on the towrope attachment. Also, notice the color of the overall image. You can feel the warmth of the evening light, and the blues are great.

    Inside the studio, we ran some shots using the 12mm f/2.0 on our lens test chart. We were very impressed with the results. The lens was across the board sharp, from the largest f/2.0 aperture down to the smallest available aperture of f/22.

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Lowest Right-Hand Corner f/22

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Lowest Right-Hand Corner f/8

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Lowest Right-Hand Corner f/2

    We displayed the images above in reverse order on purpose. Normally you would expect the corner sharpness of a lens to improve as the aperture diaphragm is stopped down. In this case it almost seems like the opposite is true. For an aperture of f/22 it is expected that the sharpness will not be as good as, say, f/8 due to diffraction, so that is a little unfair on our part. But, it is pretty impressive how sharp the 12mm f/2 is at a wide open aperture of f/2. In addition, you can see that the chromatic aberration is pretty well controlled at the corners.

    Distortion for wider angle lenses is typically expected and the 12mm f/2.0 is no exception. The image below shows the barrel distortion caused by this lens.

    Olympus M.Zuiko Digital ED 12mm f/2.0 LensNotice how the center of the image is closer to the bottom of the frame than either of the edges are.

    If you haven't already concluded, we really like the Olympus 12mm f/2.0 lens designed for the micro four thirds camera system. From its looks, to its usability, to the image quality, this small lens has everything going for it. It does have a price tag that will put it out of reach for some people, and for those who can't afford it, we suggest saving your pennies (as my mother used to say). If you are interested in purchasing this lens, we offer it in our store or on our website here. If you are looking for a fast aperture, wide-angle fixed focal length lens for the mFT system, we just don't see how you can go wrong.

  • Instant Savings This Week on Select Nikon Products

    Nikon D3100 DSLR with 18-55mm VR Lens
    Nikon D5100 DSLR with 18-55mm VR Lens
    Nikon Coolpix S4100
    Nikon Coolpix L24
    Nikon Coolpix S80
  • Nikon Support Article: "Why is 'in-lens' VR superior to 'in-camera' VR?"

    Diagram of lens shift correction VR systems

    Lens Shift Correction (from Nikon article mentioned in this post)

    Let's face it, the draw for many photographers to camera systems made by manufacturer's like Sony and Pentax is the in-camera anti-shake technology. Take any lens, including older lenses being used with adapters, and you have VR. Nikon obviously recognizes this draw because they recently found it necessary to point out the benefits of an in-lens vibration reduction system over an in-camera system. See the support article here:

    Why is 'in-lens' VR superior to 'in-camera' VR?

    Nikon highlights four points in this article, which we will include here for quick reading:

    1. Corrected finder image makes photo composition easy.
    2. Each lens is optimally tuned to achieve reliable correction.
    3. Image information captured by the AF and metering sensors is corrected with in-lens VR.
    4. Patterns of image blur are not the same with all lenses.

    We think point number 2 is probably the most important for arguing the in-lens anti-shake system over an in-camera system. It has now been widely accepted that in-lens anti-shake systems are more effective at reducing blur than in-camera systems, for the exact reason that point number 2 mentions.

    One thing that Nikon does not mention, and it is no surprise that they don't, is what benefit is the in-lens system if the lens does not have VR? Does Nikon manufacture a 50mm f/1.4 with vibration reduction? The answer is no. But mount a 50mm f/1.4 to a camera with an in-camera shake reduction system and you will see at least some benefit.

  • This Week's Instant Savings on Nikon Digital Cameras and Lenses!

    Nikon Coolpix L24
    Nikon Coolpix S6100
    Nikon Coolpix S80
    Nikon Coolpix S9100
    Nikon D5100 18-55mm VR Lens Kit
  • NEW! Olympus PEN E-P3, E-PL3, E-PM1 Digital Cameras and 12mm f/2.0, 45mm f/1.8 Lenses

     

    New Olympus Pen Digital CamerasWe are excited for the new Olympus PEN digital cameras, and we are also very excited for the newly announced 12mm f/2.0 and 45mm f/1.8 lenses. The full-frame equivalent focal-length for these lenses will be 24mm and 90mm respectively, making the 12mm perfect for low-light/fast wide-angles, like landscapes, and the 45mm perfect for portraiture.

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus M.Zuiko Digital ED 45mm f/1.8 Lens

    Olympus M.Zuiko Digital ED 45mm f/1.8 Lens

    In our opinion, although it is fun to adapt lenses to the PEN system, it is about time Olympus has announced some faster aperture, fixed focal length lenses to compliment the 17mm we saw a while ago. And, we are happy to see that the build quality looks to be better than any of the lenses we have seen thus far.

     

  • Playing with Lens Mount Adapters

    Did you ever play with your food as a child? Ever stick broccoli in mashed potatoes to make them stand like trees? Then created a road of ketchup through the forest of broccoli to lead to a cabin built of toast?

    Playing with food

    Photo: Saxton Freymann, taken from the New York Times website

    Maybe playing with food is not a universal desire for children, but there is something undeniably appealing about mixing and matching that even adults cannot forsake. If you are a photographer, the desire to mix, match, or adapt has reached a golden era. I can think of no other time in photography when one could experiment with so many different lens and camera combinations with efficacious results. A lot of this success can be attributed to the mirrorless interchangeable lens digital camera.

    Leica Lens Adapted to Panasonic Lumix GH1

    Leica Dual-Range Summicron-M 50mm f/2 Lens adapted to a Panasonic Lumix GH1

    Doing away with the mirror box of a traditional SLR has opened up a whole new world for adaptation. And, this can only be done with digital, since digital cameras do not need a viewfinder for composition. The electronic LCD works just fine. Virtually any lens can now be adapted to these cameras because of the short distance from the sensor to the lens mount. Lens mount adapter manufacturers have a lot of play for getting lenses adapted to these cameras without jeopardizing the infinity focus of the lens being mounted.

    We sell a lot of different mount adapters. Most of the ones we sell are inexpensive, generic adapters we import ourselves. The results are generally good, but can be mixed. The overall build quality of the adapters are above average, but the machining is not always consistent. For example, when using adapters with an M42 screw-mount, once the lens is screwed on, it may not always line up as you would want. What is often considered the top of the lens--the focus and aperture markings facing up--may face down. The great benefit of these adapters is the value. None of theses adapters cost more than $50. If you are interested in any of these adapters, please give us a call.

    When it comes to high-quality lens mount adapters, the universal name is Novoflex. The machining of these adapters is right on, and the quality control is consistent. We have yet to experience a Novoflex adapter that does not smoothly and securely latch in to place when being mounted on a camera body, and the same goes when mounting a lens to the front of the adapter. In addition, the tolerances are spot on. Once the lens and adapter are mounted to a camera, there is virtually no play--the mount is solid. The downside of the Novoflex adapters is price. These adapters range from $150 to close to $300, which makes them as expensive as some lenses. If you are making an investment for a lifetime of use, however, the Novoflex adapters are a perfect choice. Many of the Novoflex adapters we sell can be found for sale at our website here.

    We recently took the GH1 pictured above for a photography stroll. The dual-range summicron is an excellent lens in terms of sharpness. The only issue with using a 50mm lens on a micro 4/3rds camera, however, is the 2x focal length multiplier. The 50mm focal length of the Leica on a GH1 has the field-of-view of a 100mm lens on a full-frame camera (you can learn more about this and depth-of-field on a another post we made here). The images featured below have no post processing, besides the cropped images, which were...cropped. In terms of sharpening and other enhancements, there was nothing done in post-processing to these images. I will say that the camera was set to JPG, so the image processor will have added some in-camera sharpening there. As you will see, however, the little 50mm dual-range Leica is a great performer. CameraQuest speaks highly of this lens, and more information can be found at their website here. In fact, you can find this statement from their website: "A 50 DR had the honor of having the highest resolution ever tested by the now sorely missed American photography magazine, Modern Photography, at over 100 lines per mm".

    Picture of flowers taken with a Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of flowers taken with a Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Flower picture cropped to show detail

    Flower picture cropped to show detail

    Picture of walk sign taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of walk sign taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of plant taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of plant taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Plant picture cropped to show detail

    Plant picture cropped to show detail

     

    Picture of Yoda taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of Yoda taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Perhaps the most interesting part of using lens mount adapters is the sheer fun of mixing and matching old lenses with different camera bodies and observing the results. There is so much excitement in taken lenses from the 30's to 60's, or whatever time period, and using them on modern cameras. The results are usually surprisingly good, and often create a look that is not achievable with modern lenses. So go ahead, play with your food.

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