Panasonic LX-5 - The New Super Compact?

A few weeks ago, there was a leak from the US Panasonic website detailing all the specs and features of the much-anticipated LX-3 replacement.  Last week, Panasonic announced the new premium compact Panasonic DMC-LX5 boasting a few improvements over the outgoing LX-3.


A lot of specs and details are readily available on-line, but as a former LX-3 user and a current D-Lux 4 owner, I'd like to highlight a few notable changes for those looking to upgrade:

• The LX-5 sensor appears to be the same size as the LX-3 but Panasonic claims improvement on sensitivity, saturation (as if they needed more saturation), and dynamic range
• The joystick has been replaced with a clickable wheel, similar to its GF-1.
• LX-5 zoom is now up to 90mm/f3.3, up from LX-3's 60mm/f2.8, with matching aperture over the shared focal length
• "Presets" focal length (Step Zoom) at 24mm, 28mm, 35mm, 70mm, and 90mm is a nice touch for a compact camera
• Ability to add either EVF (Electronic Viewfinder - shared with GF-1) or optical viewfinder
• Revised external casing with improved grip
• The rear LCD claims to have backlight LED which improves the viewing but size and resolution remain the same as the one on LX-3
• AVCHD movie recording and the ability to manually set shutter speed and aperture
• Panasonic claims a faster start-up speed, and a faster AF over the previous model

So far I have not seen any 'production samples' of the LX-5 posted anywhere.  The samples shown on dpreview.com are 'pre-production' and are all shot at ISO80.  One of the most desirable improvement, for me, is the noise in higher ISO.  Not much has been mentioned about the higher ISO performance, so it remains to be seen from the actual production samples how it performs.  The camera has an attractive MSRP at $499.95.  It remains to be seen a) how long does the Thai Panasonic take to import, and b) how much they are going to mark it up.  

Wisrute

M Lens on Micro Four Thirds

It is an attractive proposition to have high quality optics mounted on a small camera body like the recent MFT models such as Panasonic GF-1 or Olympus EP-L1.  But does it really work? Here, I test a few M-mount lenses that I have on the EP-L1 just to see how they work when used on an MFT body, at twice the intended focal length.  I choose the EP-L1 (rather than the EP-1) because it renders a little sharper JPGs than its bigger brother, EP-1.  It's also a little easier to operate the EP-L1 in manual focus than it does on the EP-1.  The two lens, ZM Planar 50/f2 and Noctilux f1, have been selected to compare their characteristics both on a MFT and a full frame bodies.  To be clear, I'm not looking at them from the price point, my only intention is to illustrate how they render the photos from different camera formats.  I will not do the 100% crop either because it's too much work for an amateur like me.  There's plenty of that already posted if you google a bit.  (Please excuse the changing lights as I don't own a studio!)

Noctilux on EP-L1 @ f1.0 (100mm Equiv.)

Noctilux on M9 @ f1.0 (50mm Equiv.)

At the widest aperture, the Noctilux f1 produces pleasing result on a MFT format.  Its softness, a well documented character of the Noct at f1.0, can be seen in both photos.  Only when used on a full frame, the Noctilux produces its signature swirly bokeh.

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Noctilux on EP-L1 @ f1.4

Noctilux on M9 @ f1.4

Stopping the Noctilux down one stop to f1.4, it sharpens up slightly but still maintains a pleasing soft background on a MFT format.  On a full frame, its bokeh remains creamy and unique.  

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Noctilux on EP-L1 @ f2.0

ZM Planar on EP-L1 @ f2.0

 

Noctilux on M9 @ f2.0

ZM Planar on M9 @f2.0

At f2.0, I also test the ZM Planar 50/f2.  On a MFT body, the Zeiss really excels in sharpness and it's not just in the center.  The Noctilux, sharpens up from f1.4, but it is still slightly softer compare to more modern lens.  Examining a shaded area of the two photos, the ZM Planar yields higher contrast than the Noctilux does.   For the bokeh, the ZM Planar isn't quite as soft as the Noctilux, but is still very pleasing.  But again, we're talking about a $700 lens versus a nice used car.  

On a full frame, both lens perform extremely well, producing sharp images with different bokeh renderings.  (I didn't quite nail the focus on the Noctilux, it seems.) Because the ZM Planar is shot at its maximum aperture, it still produces a slight swirl in the bokeh even at f2.0.  

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Noctilux on EP-L1 @ f2.8

ZM Planar on EP-L1 @ f2.8

Noctilux on M9 @ f2.8

ZM Planar on M9 @ f2.8

At f2.8 on a MFT body as 100mm, the ZM Planar appears to be slightly sharper than the Noctilux.  Using them at 50mm on a full frame, they're equally sharp.  At this aperture, the bokeh differs less between the two lenses.  Looking closely, the ZM Planar renders the bokeh a little more clinical than the Noctilux.  This is likely a result of a more modern lens and optics design.  They're both nice and pleasing.

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ZM Planar on EP-L1 @ f4

Noctilux on EP-L1 @ f4

Noctilux on M9 @ f4

ZM Planar on M9 @ f4

At f4.0 the Noctilux is extremely sharp, and so is the ZM Planar.  The bokeh are also equally pleasing.  Keep in mind that the ZM Planar is much smaller, lighter, and less expensive!  As a 50mm, both exhibit good sharpness and maintain dimensionality to their images well.  With a slightly higher contrast rendering, the ZM Planar seems to separate the subject from its background slightly better than the Noctilux here.  (More review of the ZM Planar is on its way.)

My final observations go to the fact that when an M lens is used at double its focal length, the only clear benefit to be had is its sharpness.  I'm not a fan of how the bokeh is rendered on a MFT body, but others may beg to differ.  It is clear that when these lenses are used at their intended focal length, they perform best in sharpness, bokeh rendering, and yielding that desirable dimensionality to the images.  The Zeiss ZM Planar 50/f2 also exhibits some very admirable qualities here.  It's such a small and compact lens, yet it performs well beyond my expectation.  


Wisrute

Paradise on Earth

When someone asks me about my favorite beach destination, the first name that comes to my mind, time and again, is Maldives.  This paradise on earth stays in my memory, more than 10 years after our first visit, for its crystal clear water and white sandy beaches.  I no longer remember where those old photos are today, but memory of Maldives remains well within me.

In May, my wife and I return to Maldives again to take a short break.  This time the M9 travels with me along with the 24 Elmarit, the 35 'Lux, and my handy D-Lux 4.  We choose to stay at the very southern area of the atoll where it had just been opened by the Maldivian government to build resorts.  This means that the archipelago and nearby marine lives are largely unspoiled.  I believe you'll agree based on these pictures!

"Maldivian Sunset" - M9 + 35 'Lux

Mrs. loves everything about Maldives! - M9 + 35 'Lux

The Chef who made us a spicy curry. - M9 + 35 'Lux

Our short trip to a nearby uninhibited island. - M9 + 24 Elmarit

Crystal clear water and soft sandy beach on this uninhibited island. - M9 + 24 Elmarit

Here's why I love 24mm lens so much.  It enables one to compose a dynamic scene like this!

Nature, as is.  - M9 + 24 Elmarit

This is one of my favorites!  - M9 + 24 Elmarit

The D-Lux 4 also sports a 24mm lens and does a great job.  (Shot as JPG.)

More fun composing with 24mm. - M9 + 24 Elmarit

Putting the Elmarit through some low light challenges. - M9 + 24 Elmarit @ ISO 1250

No tripod, but I set the camera on the gaurd rail for this full moon shot. - M9 + 24 Elmarit

I never thought the 24mm would make a good portrait lens but it does. - M9 + 24 Elmarit

Not a proper Leica but the Panasonic Lumix FT-2 uses a Leica optic.

This fun little camera can go 10m underwater and is shock-proof!

Pristine marine lives right in front of our villa.  - D-Lux 4 JPG

Snorkeling with the FT-2.  This is where the reef drops off into the deep end.

This fella is quite cute. - Panasonic FT-2

Plenty of fish around, but my underwater photography skills is virtually non-existence! 

I had never seen water so clear like this before.  - Panasonic FT-2

Chillin' out on the beach and catching some waves.  - Panasonic FT-2

So long, Maldives.  We shall return! - Panasonic FT-2

I hope you like the photos.  If you haven't been to Maldives, I highly recommend you go there!

Have a good weekend,

Wisrute

One Wedding and a Leica, Part II

Last week, I attended the wedding reception of the wedding in the series below.   I brought along my M9 with the 35 Summilux to keep it as light as possible while allowing for some low light shoot.  This time I shot the whole series in RAW without parallel JPGs.  They were later converted to black & white to match the rest of the pictures.  

Having seen and processed the pictures, I'm very satisfied with what the M9 has enabled me to shoot.  Its compactness and superiority for low light scenes are miles ahead of DSLR.  Sure there are a few blurred shots, but they still look great! IMHO.  The mood, the faces, and their expressions are unlike any other pictures I'd made with other cameras.  Maybe this is another Leica magic?

There are two more friend's weddings (at least) this year, and I'm already planning to bring the M9 along again.  Enjoy the photos, I shall let my pictures do the talking.  

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Memorable moments.

Guys gang after the reception.

Happiest mothers of the night!

My friend and his daughter having a good time.

And the happiest couple...

Wisrute

Putting "Magic" into Leica

The word "Leica" and "magic" are frequently used together in a sentence by many.  I don't know if there's a better word than magic to describe Leica images.  Over the years, I had not paid much attention to Leica images until recently.  There's something special about the way the lights are captured and rendered in those images.  The magic of Leica, I believe, lies largely in their very special lenses.  As special as their cameras may be (and they truly are), it's the lens that paints the images.  


As my interests in Leica grew, I started browsing the internet for more and more images taken with Leica cameras.  Many of them possess that dreamy and painterly look that is unique to Leica.  Later I discovered that there's one particular lens, the Noctilux, that is renowned for this special quality.


Many have written about the Noctilux, its history, quality, and the different versions over the years.  I'm not even going to try.  One version that I find most interesting is the last series of the f1.0, before Leica replaces it with the f0.95 version.  The optics isn't technically perfect since its root dates back quite a few decades.  But the refinement over the years have made this f1.0 a truly unique lens.  The bokeh of this lens is truly unique in a sense that it almost has a signature look to it.  At f1.0, it renders the bokeh with a swirly effect and the focus area remains on the soft side, much like older cinema lens would.  Stopping it down a few clicks, and it sharpens up while keeping a watery-smooth look in the bokeh.  This quality seems to be missing in the new and technically superb f0.95 version.  


Late in 2009, luck came my way when a used 6-bit coded Noctilux popped up in the local market.  I didn't even have the M9 when I decided to buy it.  The seller showed me a few shots he had taken with the lens, and I tested the focusing on his M6.  After some more inspection, we had a deal.  No matter what camera format you normally shoot, the Noctilux is a heavy lens.  By Leica standard, it's huge!  By DSLR standard, however, it is on the 'normal' side.  Focus throw, on the other hand, is quite long and it takes time getting used to unlike Leica's smaller "Lux" and "Cron" lenses.


I started shooting the Noctilux on Olympus EP-1 before my M9 arrived.  Even with Micro 4/3 format, I was already impressed by the images.  But not until I shot the Noctilux on the M9 that I truly appreciated its special quality.  For some, the Noctilux will remain an occasional lens.  For me, I don't really mind carrying  and shooting with it.  Most of the time, I shoot the Noctilux between f1.4 - 2.8 so that the images remain sharp with silky smooth bokeh.  I shoot at f1.0 only when it's very dark, or when the swirly bokeh is desired.  For me, the Noctilux will always be the definition of Leica magic.  There are other great Leica lenses, no doubt, but the Noctilux has its place secured in the history book.

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This photo must have been shot at f2.0 or so, note three dimensionality and the creamy bokeh.  

One of my early shots with the M9, testing out the Noctilux.

"Salute!"

One evening, we had to pick up our son from the boy scout camp at school.  This teacher in the photo also taught me years ago, so it was really special to see him working, still!

"Star Spotting" - This shot was made in near total darkness (later adjusted in Aperture). I came away impressed with the ability of the Noctilux.

A recent photo taken at a local concert, showcasing the warm glow of Leica lens.

Hope you enjoy the photos,

Wisrute

My Gear, Part II: The Leica M9

Since I'd switched to digital several years ago, I've never been all that satisfied with the photos.  Sure I've taken some good pictures, but it was never the same somehow.  Dynamic range and tonality of digital files (at least from early 2000s) were not even close to film's.  In the last few years with full-frame sensors, they sure brought back some dimensionality to the pictures.  The cameras themselves also changed a lot.  ISO can now be freely adjusted from one shot to the next.  Colors are more camera dependent, rather than film dependent like before.  White balance is a whole new frontier in digital photography! Pro's DSLR are now capable of ultra fast autofocus, virtually lag-free shutter, and they now shoot HD videos.  I can't help but wonder what these cameras will do in a few years.  Wash your clothes, maybe?
Leica's first attempt with digital started with the M8 and later with M8.2 which were flawed in their own ways.  Despite those flaws, Leica engineers must have learned quickly and produced the M9 the way the M8 should have been.  


Moving from DSLR to a rangefinder was a big risk for me, but a calculated risk nonetheless.  Rangefinder cameras have their own attributes that differ somewhat from pro DLSR.  Attributes like manual focus only, no-mirror, basic center-weighted metering, and no full auto exposure can unacceptable to many photographers.  But for others, these attributes are attractive.  


With the Leica M9, I am more 'photo conscious' and I look for the opportunity to shoot more often.  When I carry the M9 along, I think mostly with the 35mm frame line in mind (my 'default' lens).  Other times, I react to the environment around me and the M9, despite being almost full manual, let me do that quite quickly.  It sure is very different to be shooting prime (MF) lens on a rangefinder than DSLR with autofocu zoom lens.   With a rangefinder, there's no viewfinder black-out (mirror interruption), less vibration (again, no mirror flipping up and down), fixed viewfinder with frame lines so I can see outside the frames, small foot print, manual focus works even in low light where AF fails, and the list goes on.

A lot of things have already been said (and written) about the M9 technicality.  I will not repeat especially when I'm not a tech expert.  What I can say and confirm, is that the M9, due to its smaller dimension, helps bring out the neutrality of your subjects more than professional DSLR.  Being smaller and lighter also means I carry my M9 around much more often than I do with my DSLR.  I  have three M lenses, the 24 Elmarit, 35 Summilux, and 50 Noctilux, and I use them all.  I cannot say the same with my old Nikkor AF-S 70-200 VR.

With the M9, I shoot exclusively in RAW (Compressed DNG).  This works exceptionally well with Aperture 3 and my iMac i7.  RAW format brings out the best of the M9 especially in dynamic range department.  Aperture, and I'm sure LightRoom, plays a big part of mimicking that film development experience, minus the chemicals and smell.  

A Leica M is truly a special equipment.  It certainly isn't for everybody.  Some may find its features as limitations.  Some may never get used to the manual focus.  Some may crave for ISO12500, HD video, and GPS navigation from their pro camera.  But if you love photography and want to get back to the basics, give a Leica M a try.  No matter it is film or digital.  

Now I understand full well what it means when someone once said, 'Shooting with the M9 is like taking a step back technically, psychologically, and financially. 

The photos below show just how practical the M9 can be.  Given practice, it can do action shots as well as portrait shots.  

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Even when the 35mm Summilux isn't shot at maximum aperture,

there's still plenty of depth and sharpness.

Our recent trip to Hong Kong Disney, I shot this one to test the camera's metering and the lens bokeh.  Both performed very well.

This night shot on the Main Street is a straight output, no processing whatsoever!

A photo from a series of 3-4 shots.  Without any mirror interruption in the VF, I don't miss opportunity like this.

Buzz LightYear ride was a perfect challenge for the camera and myself alike.  Most autofocus systems would have failed in this situation.

A friend, also a Leica owner, and his lovely daughter.

Practice makes perfect.  Action shoot with the Noctilux.  

My daughter is now good friends with the M9.

With an optical finder and manual focus, low light shoot is not that difficult.

Have a good week,

Wisrute