Following my recent RX10 mould issues, I was discussing the problem with someone at The Real Camera Company in Manchester. These were the people where I sent my RX10 to the repaired and who did such an excellent job.
It appears the common approach of many photographers is to store their equipment in camera bags. Typically, the camera would be left in the camera bag between outings. A bag which would usually be zipped shut and sometimes be damp from being out in the field. What better conditions for mould to thrive than in dark, damp conditions with no circulating air.
My own approach to storing camera equipment as to keep it in a camera bag but with the top open and use silica gel sachets to limit moisture. If the bag became wet I would remove the equipment until it had been dried for at least 48 hours. Thinking about it, I decided this wasn’t good enough given the cost of equipment.
This is when my wife had a great idea and suggested this storage.
This was purchased from Costco for around £20. It’s actually storage for shoes but it fits camera equipment perfectly. I can fit my Fuji X-T2 + lens in one of these compartments. I can fit all the Fuji lenses in the next and so on. I now have all my camera equipment and key accessories in this 4 x 3 unit. Everything is easy to get at, the units are semi-transparent so exposed to light and air can circulate freely.
Let’s hope this keeps mould away.
Over the past week I have received at least four emails asking what Micro 43 lenses I would recommend for Landscape Photography. I can also see quite a few people reading a related post I created back in 2012. Given my advice has changed since I wrote the original post, I thought it was time to revisit the subject. If you would like to know more about the image above, check out the video at the end of this blog post.
Before I share my own recommendations, I believe there are a few points that need to be taken into consideration. These are:
- Camera Ergonomics
- Shooting Style
You should consider these points carefully in order to come to your own conclusions. These points will also help you to understand my answers.
Micro 43 is an extremely flexible format with a large range of available lenses. Unfortunately, not every micro 43 lens will suit every camera in the micro 43 range. The lenses may fit the camera and operate correctly, but are the two well matched. For example, the Olympus 12-40mm may feel great when used on the Olympus EM1. But place the same lens on the tiny Panasonic GM1 and it would feel completely out of place. If the lens makes your camera difficult to work with, it doesn’t matter how good a landscape lens it is.
Flexibility & Shooting Style
It’s a little difficult to cleanly separate these two areas so let’s cover them together.
Consider if you would prefer to work with prime lenses or zoom lenses. My own preference is for zoom lenses as sometimes you can’t get into position with a prime lens. I would much rather have the flexibility of using zoom lenses.
Consider the focal ranges you want to cover with your lenses. My kit covers 9mm to 150mm (or 18mm to 300mm in full frame equivalent). Would this suit your needs for Landscape? Do you need greater coverage of focal lengths or is such a large range unnecessary?
How will you carry your equipment? I use a small shoulder bag in which I carry the camera and main lens as well as two additional lenses.
The price of some lenses may be restrictive, especially if you are purchasing them new. Some lenses are quite difficult to obtain second hand so you might not have any option but to purchase them new.
Lens quality is of paramount importance to me. I want to render images that are superbly sharp and which contain lots of detail. This might not suit our style of photography or you might place other features ahead of image quality. A further example of this is lens distortion (Barrel and Pincushion). Although I say lens quality is paramount, I don’t really mind some level of distortion. If this becomes too obvious, it can usually be corrected by software during post processing.
Are there any features that you need in a lens? For example, you may require the lens to be water resistant. One feature that I find important is the ability to mount filters to the front of the lens. Personally, in common with many landscape photographers, like to mount graduated ND filters on my lenses to help control exposure. Some ultra-wide angle lenses such as the Panasonic 7-14mm won’t accept such filters. The 7-14mm lens is a super performer but the frustration it caused me when trying to use filters resulted in me selling the lens.
Do you need image stabilisation in your lenses? I shoot with an Olympus EM5 which has in camera stabilisation so having a stabilised lens is not important to me. If your shooting with a Panasonic Micro 43 camera, this might not be the case. Equally, if you work exclusively on a tripod, you won’t need this feature.
How about having a constant fast aperture or close focus range? You need to think about these.
Based on everything I have said, my current recommendation for the best Micro 43 lenses for landscape photography are:
- Olympus 9-18mm
- Olympus 12-40mm
- Panasonic 45-150mm
These lenses are in my core kit and the ones that I take with me when travelling. All of these perform excellently, producing very sharp images and resolving fine detail. Of the three, only the 12-40mm is large. The other two are tiny for their focal range. I am prepared to accept the additional size and weight given the lens is weather sealed and has amazing optics. It also has a very close focus distance even at the 40mm end which makes it a pseudo macro lens if I don’t have room for one. In fact, the 12-40mm is such a great lens for my style of photography, it remains on the camera probably 90% of the time.
In the past I have worked with a Panasonic 14-45mm kit lens from a GF1. These are excellent lenses and available at a good price second hand. This is a good option if you don’t want the size, weight or cost of the 12-40mm lens. It’s sharp and versatile but lacks a little on the wide end of the focal range (for my preference).
If your confused by the multitude of lenses available in the Micro 43 range, consider the areas mentioned carefully before committing to a purchase. Whilst my lens choice is perfect for my needs, they may not be suitable for you.
If you like this video be sure to subscribe to my You Tube channel.
Robin Whalley You Tube Channel
Big and heavy. It’s a Nikon D800.
But don’t hit the unsubscribe button just yet, there are some valid reasons for this and some really interesting results.
Firstly, this was an absolute bargain. It’s like new and was a fraction of the cost of the new camera. I don’t know about you but I just can’t resist a bargain.
Secondly I was curious. Not a little but a lot. You see I keep hearing that Micro 43 is not a real camera and that you can’t shoot serious landscapes with it. If you want to shoot landscapes you need a great camera with lots of high quality pixels in full frame. In short you need something like a D800.
So I bought one and want to use it as a benchmark against which to compare and judge my Olympus EM5 and the even smaller sensor of the RX10. Whilst I have only had two outings with the D800 I promise you the results are interesting and will surprise. I will also own up that I am struggling a little with the D800. I think shooting with Micro 43 has made me a little lazy; but more on that in future posts.
So now you know, I will be posting some interesting comparisons over the coming months.
Over recent years the range of prime lenses for the Micro 43 system has expanded greatly. For anyone who’s unsure, a prime lens is one with a fixed focal length for example 25mm. Again, what follows is a review of the lenses I have or have used (I have owned all of them at some time).
I still have this lens and it is a good performer. It was once a kit lens for one of the Panasonic systems (I forget which) so there is a ready supply of these second hand. I purchased mine second hand but it was sold as having been part of a kit but unused. The lens quality is very good with very little distortion. It doesn’t have a very wide maximum aperture but it’s better than the Panasonic 14-45 kit lens.
In terms of sharpness, it is marginally better than the 14-45 kit lens but you really do need to make a side by side comparison to see this. Where this lens does score highly is in its size and weight. It’s very light and very small. If you like to use a wide angle lens for your street photography, this is great. It’s also very useful for Landscapes as it gives the equivalent of a 28mm lens on full frame. Although many would suggest this isn’t wide enough for landscapes, it’s a very pleasing focal length. For around £100 used, this is a bargain lens.
Olympus 17mm f/2.8
There are two Olympus 17mm lenses and I have owned both. The distinguishing feature when looking at the description is the maximum aperture. The cheaper of the two has a maximum aperture of f/2.8. This version is very cheap at around £100 or less but I have seen people trying to pass these off as the more expensive f/1.8 lens discussed below. The two lenses do look different and certainly perform differently so beware. Be sure you know what you are buying.
Whilst this lens is cheap, small and light, I can’t really recommend it. It doesn’t perform anywhere near as well as the Panasonic 14-45 kit lens. Yes it has a wider maximum aperture but only just. In all honesty, if this is all you can afford and desperately want a 17mm prime lens, save your money and put it towards the next lens listed below – it’s worth the wait.
Olympus 17mm f/1.8
This lens is the complete opposite of the f/2.8 discussed above. I suspect some of the poor reviews you sometimes see listed are from people confusing it with the cheap version. This lens is beautifully made, performs amazingly well and just oozes quality. It has a metal construction and a reassuring weight whilst remaining small and compact. It will produce sharp images from wide open. It gives a beautiful shallow depth of field and is sharp into the corners with virtually no distortion. It really is a pleasure to use.
It also has a nice feature in that the end of the lens barrel will pull back to switch the lens into manual focus mode. When you do this it also reveals a nice depth of field scale; not quite as nice as a traditional manual prime but still very helpful. In short, this is a great lens and whilst a little more costly, the money shows in the quality of the lens and results. Highly recommended.
Some people rave about this lens and I have owned two of them now (but mine were the initial model and not the latest MKII model). I honestly can’t understand why people rate this lens so highly. The versions I have owned were very, very slow with autofocus and also quite noisy. Whilst the centre of the lens was a little sharper than the Panasonic 14-45mm kit lens the edge performance was worse. The lens is nicely compact but I couldn’t get on with it.
I acknowledge there is a strong following for this lens and I could have been unlucky enough to have two poor samples. I would urge caution if you are considering this lens and consider the Olympus 25mm discussed next as an alternative.
This is a relatively new addition to the Olympus range of primes. All I can say is wow. I love this lens. It’s small, light, compact and really sharp. Performance is excellent as is the price. If you are considering the Panasonic 20mm prime mentioned above, do a side by side comparison with this lens. I find myself turning to the Olympus lens quite often now.
This lens looks very similar to the 25mm Olympus mentioned above and is equally sharp. Again, this lens is highly recommended. This is a great lens with a lovely shallow depth of field.
Olympus 60mm Macro
If you want a dedicated macro lens then you don’t have many options. This lens looks unusual and is rather long. It is however an ideal focal length for a macro lens and super sharp. I really like this lens a lot although understand when some people say they can’t get on with it. Focus speed is OK but not terribly fast. I suspect this is why there is a range switch on the side so you can limit the range it tries to focus over. The only thing I don’t like this lens is the 1:1 magnification switch. Once in this mode you really need manual focus and if you accidently press the shutter button you can lose this level of magnification. You do really need to be focussing manually at this setting. Despite this the lens produces wonderful results and also makes a very capable 60mm prime for general use. You don’t need to use it as a macro lens all the time.
I hope this miniseries has helped people and if anyone has any additional comments on lenses not covered I would be delighted to hear them.
And I haven’t forgotten about revealing what my new camera is. More on that in the next week.
In this posting we will look at the lenses falling in the super wide angle category. I define this as being those that are wider than 24mm (full frame equivalent) or 12mm (Micro 43). At the time of writing there are only two zoom lens options which are described below. Headings are links to amazon.co.uk to see the lenses.
Super Wide Angle Zoom
If you need a wider angle lens than the 12mm standard zoom you don’t have much choice. It’s either this lens or the Panasonic 7-14mm mentioned below. I own the Olympus 9-18 and really like it. It’s a sharp lens that performs well. At the wider angle end of the zoom range it will distort but the lens retains its sharpness. Some chromatic aberration is apparent but no more than you might expect from such a wide angle.
The lens is very light and small. It also collapses down on itself when not in use. This makes it very easy to carry and suitable for all sorts of camera design. Most importantly you can easily use filters on this lens, something that can be tricky with the Panasonic.
I can’t deny this is a sharper lens than the Olympus and is most certainly pro quality. The downside when compared to the Olympus is that it’s larger and quite a bit heavier although it’s still much smaller and lighter than a DSLR wide angle lens.
Despite its amazing performance, I opted not to buy this lens because of one key problem. The front element of the lens protrudes beyond the front of the lens making it very difficult to attach filters. If you can overcome this limitation and don’t mind that it’s quite a lot more costly than the Olympus then this is a great lens.
I recently bought another camera (used) and whilst I will have more to say on that in the future, one thing it made me realise was just how good the Micro 43 lenses are. But this isn’t the case for all of the Micro 43 lenses; there are some really poor ones out there. When these lenses are good they are really good. The corners are sharp and show little distortion and you can use them wide open without worry. But when they are poor, they can make you question your decision to invest in the Micro 43 system. With this in mind I thought I would share some of my experiences and hopefully others of you will share yours.
I will point out that this is not a scientific lens review but what I think are the important points having used the lenses discussed. You also need to be aware that being a Landscape Photographer I like to achieve a good depth of field, very sharp images and well defined details. Depending on your photography interests you may have different needs.
Now both Panasonic and Olympus produce some excellent lenses (as well as some poor ones) but they take very different approaches to image stabilisation. Olympus builds stabilisation into their camera bodies whilst Panasonic build it into the lens (but not every lens). This means that if you have an Olympus body you can use any lens and still benefit from stabilisation. If you have a Panasonic body then you will only benefit from image stabilisation when you use a Panasonic lens (and only then if it is stabilised as not all lenses are).
Now you can mount a Panasonic lens on an Olympus body without any problems; this is one of the prime features of Micro 43 – it’s a standard. For example, I frequently use a Panasonic 14-45mm lens with stabilisation on my Olympus EM5. I do take care to turn off the lens stabilisation using a switch on the lens barrel. But even when I forget it seldom causes an issue. With other lenses such as the Panasonic 45-150 the lens is stabilised but there is no stabilisation switch on the body. Despite this I have never experienced a problem mounting these lenses on my Olympus EM5 and leave the stabilisation for the camera on all the time.
In short, don’t worry about mixing lenses and camera bodies from Olympus and Panasonic although you might need to give a little thought to manually switching it off for some combinations of lens and camera body.
Next time we will start to review some of the zoom lenses I have used. But before we go I will leave you with a few section of the above image zoomed to 100% magnification. This shows just how good the Micro 43 system can be.
Looking back some 3 to 4 years, I was a devoted user of Lee Filters although they were far from perfect. I didn’t think the quality was great and I can point to examples of colour shifts in my work. When I moved to Micro 43 I found the Lee 100mm filters were too large so I switched to using Hi-Tech 85mm filters and then more recently the Hi-Tech 67mm.
I was very pleased with the Hi-Tech filters and they were also much better value than the Lee equivalent. That was at least until I purchased the Sony RX10. When I use the 85mm Hi-Tech filters with this camera (the 67mm filters vignette badly) I find the sky takes on a purple tint. I can correct this in Lightroom using the grad tool but it’s annoying. What’s interesting is that this isn’t a noticeable problem when I use the filters with the Olympus EM5.
Now enter the GM1 and I found a similar problem was now occurring with the 67mm Hi-Tech filters. It’s not as strong an effect as the 85mm filters on the Sony but I can still notice it. Again, the effect isn’t noticeable when using the filters with the Olympus EM5.
It was this small but very frustrating tint that has taken me back to the Lee filters. I decided to bite the bullet and invest in the Lee Seven 5 filters, and I’m so pleased that I have. These filters and holders are very well made indeed. Best of all there is no discernible colour shift on any of the cameras I use. What really hit home for me was when I used the 0.9 Grad for this image and found the effect to be perfectly natural. If there was going to be a colour shift it would be with this filter but the results are excellent.
If you are thinking of investing in the Lee Seven 5, my view is that the expense is well worth it.