|
Panasonic GF-1
Camera
(Diary) |
I
have always desired a small and light digital camera for everyday use.
Ideally a 'Hybrid Version' of the Leica M7
Rangefinder 'Film' Camera and the Nikon FM3a SLR 'Film' Camera with the
same small and lightweight lenses.
I had read
up on the Panasonic GF-1
'digital' camera which is small and light with a 4/3rds
sensor. It has an excellent 20mm f1.7 'Prime' autofocus lens but it can
also utilise interchangeable lenses and with adapters it can also use
Leica M and Nikon AI-s Lenses, as well as other legacy lenses. It also
has video, although for me (a stills photographer) this is not a
pre-requisite. The reviews and the sample images on the Internet seem
promising, although it is not a '35mm full frame' sensor camera. The
GF-1 has a x2 crop sensor (a 20mm lens = 40mm depth of field) which
according to the reviews provides a reasonably high ISO image quality
and at wide apertures, a more controllable
depth of field than a small compact camera.
I liked the
idea as it combined the viewing style of the SLR with the 'mirror less'
operation of the Rangefinder and it could be set-up to perform like a
small rangefinder camera.
I thought it was worth purchasing and giving it a try
- the 20mm f1.7 autofocus lens with it's 40mm field of view would be more than
adequate for street photography and everyday use. I later purchased a Voigtlander
(Nikon F to Micro 4/3rds) Adapter to fit my Nikon 50mm f1.4 AI-s
'Prime' Lens to the GF1.
This Article is split
up into 3 x Sections - Click on any Section (RED) List to Jump:-
The following table
of images was taken with the Panasonic
GF1 + Panasonic 20mm f1.7 Lens during December
2009 and January 2010. The weather in Edinburgh, Scotland was extreme
and provided an ideal testing platform for difficult shots. All images are
processed in SilkyPix RAW Software (except where otherwise stated in the
description).
Panasonic 20mm f1.7 Lens Images
(Click on thumbnail to go to 1,000 pixel size)
My
Panasonic GF-1 Camera - Parts List
1. GF-1 Camera Assembly (Fits neatly inside the
main part of the Apex 100 AW Case):-
-
Panasonic GF-1
Digital 'Micro 4/3rds' SLR Camera
-
Panasonic
DMW-LVF1E
'External Live' Viewfinder
-
2 x Sandisk 8Gb
Extreme III 30Mb/Sec SDHC Cards
-
Panasonic
DMW-BLB13 Rechargeable Battery
-
Black (Wrist)
Strap for the camera (I am not using the supplied shoulder strap)
-
Giottos 3" LCD
Screen Protector
-
Panasonic 20mm
(40mm FOV) f/1.7 ASPH LUMIX G Lens
-
Hoya 46mm HMC UV
Filter (Permanently Fitted)
-
Hama 46mm Screw
Type Standard Collapsible Rubber Hood (Fitted when required)
-
Lumix 46mm Lens
Cap
-
Lowepro Apex
100 AW (Belt/Shoulder) Carrying Case
2. Graduated Filter
Kit Assembly (Fits
neatly inside the front part of the Apex 100 AW Case)
-
Tiffen 46-52mm
Step Up Ring
-
B+W 52mm F-Pro
'2 stop Gray' Graduated
Filter
-
Hama 52mm Screw
Type Standard Collapsible Rubber Hood
-
Hama 52mm Lens
Cap
3. Panasonic
DMW-BLB13 (Spare) Rechargeable Battery (I use a separate Sandisk Small Zip Case)
GF1 Menu Setup
Click here to Jump to my GF1 -
Menu + Control Dial Settings Window
Giottos 3" LCD
Glass
Protector
This
was a slight disappointment (although not a deal breaker) as it overlapped the top and bottom of the LCD by 1mm and did not
completely cover the LCD leaving a gap on the left of exactly 5mm. It
did cover and display my viewing (4:3) area and offered substantial rigidness
and protection to the existing LCD. It could also be removed and
replaced. Apparently the GGS LX3 glass protector can be used for the
GF-1 and offers a complete LCD covering.
Lowepro
Apex 100 AW Belt/Shoulder Bag
It
was a neat fit - with the GF-1 Camera and the
DMW-LVF1E
external viewfinder clipped on, the 20mm lens, the Hoya
46mm UV filter and
lens cap all fitted and the lens assembly facing to the back of the bag
with the
lens nearer the bottom (camera grip at the top). The back of the camera
therefore faces to the front of the bag. I was able to place the
46mm rubber lens standard hood (collapsed) alongside the camera
in the top of the bag. I also popped in a small
cleaning cloth and a small gel bag (to prevent dampness).
In the front part of the bag I put in the graduated filter assembly and
also the spare memory card in the special 'memory' pouch inside the lid.
I was going to carry around the spare battery in my pocket (no room in
the bag). I used a Sandisk
(memory) small zip case to put my spare battery in.
I tried the Lowepro Apex
100 AW case for 'belt carrying' but this proved
difficult when wearing a large overcoat (Scotland has pretty hostile
weather). Its an age thing, I suspect younger people will not have a
problem. I am currently using the case as a shoulder bag and slung over
my shoulder or across my chest - works just fine. Also because the Apex
100 AW is so light with the GF-1 you can carry it with ease by wrapping
the strap in your hand or using the handle.
Lowepro Camera Bags - Link http://www.lowepro.com/
GF-1 Combo + Apex 100 AW - Images
Panasonic - Review - Forum Web Sites
You can read more
about the Panasonic GF-1 Camera and accessories on their web site -
http://www.panasonic.co.uk
and a review at
http://www.dpreview.com/
Micro 4/3rds Camera Forum
The Micro Four Thirds Talk Forum over at Digital
Photography Review provides an ideal discussion platform to learn more
about a Panasonic GF-1 camera and Accessories. The forum users have been
invaluable in helping myself in the learning curve and have greatly
shortened it - the link is
http://forums.dpreview.com/forums/forum.asp?forum=1041
LCD -
Image Capturing
(Exposure 'Multiple'
Metering + 1 Area Centre Autofocus)
The first images I have taken with the GF-1 using it's LCD live view were captured in appalling
weather and the darkness of the day on the ground coupled with a very
bright 'storm' sky made it extremely difficult to see the ground part of
the scene. Whilst this was a downside - the actual
image captured was 'true' to the image I had seen before
pressing the shutter. The manual states that you can raise the brightness level in LCD Auto Power Mode or use the LCD Power Mode
and have it much brighter all the time. The downside with all (non
default) options is - what you see on the screen may not be what is
actually captured in the final image. For the moment I am remaining with the
default option (what you see is what you get). I found that if the image
exposure is set-up properly then the image is much clearer. With scenes
which have a more 'even balance of light' throughout the image, the
LCD viewing is much clearer to the eye.
I did a test at dusk and found that with an 'evenly dark' lit scene the
LCD displayed a very bright and easy to see image.
DMW-LVF1E
'External Live' Viewfinder
-
Image Capturing
(Exposure 'Multiple'
Metering + 1 Area Centre Autofocus)
I have
purchased this viewfinder and fitted it to the GF-1. It looks great on
the camera and works very well. You press a small button at the side of
the viewfinder to 'toggle' the live view image between the viewfinder
and the LCD - the image play back also follows the live view mode you
have chosen. You cannot use the LCD and the Viewfinder at the same time. The eyesight diopter works well and I was able to adjust the viewfinder
to my eyes very easily.
The viewfinder came with a black snap fastener
case which holds the viewfinder in special grooves inside and has a snap
fastener on the back to clip it to a bag strap.
The viewfinder display
is similar to the LCD, in that
the actual image captured was 'true' to the image I had seen in the
viewfinder before pressing the shutter. The downside (like the LCD) is
that dark foreground images with highlights are difficult to
'completely' see clearly, especially with landscapes where there is a
very dark foreground section. I could
have changed the LCD/External Viewfinder to the auto power mode and
brightened up the viewing area but I would rather have a true image
displayed all the way through to capture. I found that if the image
exposure is set-up properly then the image is much clearer.
With scenes which have a more 'even balance of light' throughout the
image, the
DMW-LVF1E
viewing is much clearer to the eye. I did a test at dusk and found that
with an 'evenly dark' lit scene the external viewfinder displayed a very
bright and easy to see image.
The 'one wrinkle' is that the small plastic guard has to be removed from
the camera to slide the viewfinder into it's place. Whilst this is very
easy to accomplish, I was left with the small guard in my hand and I
wondered if I could cope with always fitting the viewfinder to the
camera not to mention the distinct possibly that I would eventually lose
the plastic guard.
I
have since resolved the on/off camera problem by leaving the external
viewfinder - permanently attached to the camera. The small plastic guard
and the viewfinder case are now safely stored in the house.
Camera Malfunction
I learned that if you fit any kind of adapter to the front of the 20mm
lens, which blocks it from withdrawing into it's outer casing (when the
camera is switched off or powers down in power save mode) - the camera
will lock up for manual and autofocus until you remove the adapter
(typically in my case this was a 46-52mm step up filter adapter)
The 52mm Graduated
Filter Assembly
This assembly is screwed onto the
front of the Hoya 46mm HMC UV filter (the 52mm hood is optional for very
sunny days). I did not fit the graduated assembly on the front of the
20mm lens as the lens (when camera switched off or powers down in power
save mode) retracts inside the lip of it's outer casing - a (46-52mm)
step up filter adapter will block this and create a malfunction. The
graduated filter assembly is a neat solution for using in 'all day
carrying mode' especially for bright sky/heavy shadow scenes. I
marked the top metal rim of the graduated filter ring (the top of the
gray part of the glass) with a piece of white plastic tape. This makes
it very easy to use in the field as you always know what is the top.
There is no camera malfunction or any vignetting effect by using the
Hoya 46mm UV filter plus the Tiffen 46-52mm step up adapter/B+W 52mm
graduated filter/Hama 52mm hood assembly screwed on the front of the
20mm lens.
The Lee 75
Rangefinder Graduated 2 x Filter + Polariser Kit is an alternative
solution which is great for landscape work and similar projects where
the camera is on a tripod - although I am not sure if the 46mm
adapter supplied with the 75 Kit is flat against the outer casing of the
20mm lens and will block the lens retraction?
Lee 75 Rangefinder link -
http://www.robertwhite.co.uk/products.asp?PT_ID=502
The only concern I
have with both the solutions is that - Panasonic (in their instruction
manual) advise against stacking filters and I am not sure if this is to
prevent weight on the front of the lens, prevent inadvertent vignetting or it is relative to image
quality being affected?
Exposure Compensation
My early tests have shown that the GF-1
+ 20mm f1.7 Lens in 'Default Set-up' will 'very easily' produce blown
highlights and produce weaker jpeg images. Combined with this is a
narrow dynamic range. I have eliminated virtually all of these problems
by setting the exposure metering to -2/3rds. My answer to a narrow
dynamic range, which predominantly appears in images with bright skies
and dark shadows, is to use a screw type '2 stop' gray graduated soft
filter. Whilst I use HDR Software in certain conditions - it is easier to
obtain a more pleasing and natural effect with a gray grad filter and
combined with this - I will always shoot 'bracketed' images in
conditions where the correct exposure could be in doubt.
Lumix 20mm f1.7
Lens
This lens is
very small, the
casing is made of plastic and it has exceptional image quality. I only
use it in autofocus mode and so far it has performed very well. When I
first used this lens, I noticed it had a 'rasping' noise when the
autofocus moved the lens in and out - I am not sure if this is the gear
mechanism or the lens plastic casing which is causing it. It is still
there when you listen carefully but I have become used to it and no
longer seem to hear it when I am taking pictures. Apparently it is a
known condition and it is not a fault. Due to the finish of the lens, I
am not confident that muck will not get in between the glass and the
case, so I have permanently fitted a Hoya 46mm UV HMC Filter which
safely allows the lens to withdraw into its casing at power down or in
power save mode.
I learned that if you fit any kind of adapter to the front of the 20mm
lens, which blocks it from withdrawing into it's outer casing (when the
camera is switched off or powers down in power save mode) - the camera
will lock up for manual and autofocus until you remove the adapter
(typically in my case this was a 46-52mm step up filter adapter)
Therefore I fit my 46-52mm step up graduated filter kit to the front of
the Hoya UV filter and there is no problem!
The 20mm lens suffers
from flare (similar to a halo) on the edge of bright lights at night,
not all lights but it can be a nuisance. This condition improves as the
aperture is closed towards f8 but never really goes away. It is not my
UV filter as it remains without it - others on the Internet have
experienced/reported the same problem. It is by no means a deal breaker
(for me) as the lens more than makes up for this short fall with so many
other great images. You can see the image example of this condition in
the image gallery - it is called 'Festival Square' and you can see the flare on
the lamp posts to the right and left of the picture.
Landscapes taken with the
20mm lens will have 'image quality restrictions' when they are very
distant. The image will deteriorate to more of a water colour texture,
especially if the image has also been 'cropped for effect' and even more
so when the image has a dark foreground and a very bright skyline.
Optimum Image
Quality
In my opinion the GF-1 + 20mm f1.7 Lens
delivers 'optimum' image quality between aperture settings f2 to f4.
At f1.7 and also f5.6 to f8 the quality remains exceptional but below
optimum. At f11 to f16 the quality of the image begins to suffer from
diffraction - f11 is still very acceptable. I would not use f16 unless I
had no other choice. Having said that, I doubt very much that Print
Sizes up to 8" x 6" would display any of the diffraction weaknesses of
this lens.
GF1 -
Ease of Use
Click here to Jump to my GF1 -
Menu + Control Dial Settings Window
The Panasonic
GF1 Digital Camera, the Panasonic
DMW-LVF1E
'External Live' Viewfinder and
the Panasonic 20mm f1.7 Autofocus Lens provide an
excellent combination for capturing 'everyday' images. Although this GF1
kit is not that compact, it is 'never the less' the neatest solution
that I have used (so far) that provides excellent image quality. I set-up the
GF1 similar to a small rangefinder camera and fitted a small wrist strap
to it. It is very discreet and smaller than a Leica M Series Camera. I
cannot fault the GF1 - the combo delivers a 'great buzz' when taking
pictures and the image quality is 'top end' between ISO:100-400 and
remains excellent at ISO:800. I do not see it as a replacement for my heavier Canon DSLR
equipment but it is an excellent addition.
When I was using the
LCD screen, I found the GF1 very difficult to hold steady and to
manually (tweak) focus my Panasonic 20mm autofocus lens, especially when
I was increasing the focus magnification. I found that using the
Panasonic
DMW-LVF1E 'External Live' Viewfinder was a better option.
Using the
GF1 like a Rangefinder with an Autofocus Lens
Taking an
Example Shot - using my Menu
A (or
C1 for BW Dynamic) Settings - - - - - Steps:-
-
Switch on the camera
-
Turn top dial to
A (This is my CONTROL set-up
for Aperture Priority, Dynamic Colour and an Autofocus Lens)
-
The Exposure Meter is already set-up for 'Full
Multiple Metering Area' (you can use the Fn Button on the back of
the camera to change this if desired) This example shot will use
'Full Multiple Metering Area'
-
The Autofocus is already set-up to autofocus
single (small central area like a spot focus)
-
Using the LCD (or better
DMW-LVF1E
'External Live' Viewfinder) - check your image's scene
-
Use the LCD/Viewfinder - Roll/Turn the
* Control Wheel
on the back to your desired
aperture setting (this is displayed in LCD/Viewfinder)
-
Use the LCD/Viewfinder -
Check your
shutter speed against your choice of aperture
setting (the exposure meter will select the shutter speed for you)
-
As per your aperture choice and 'DESIRED'
shutter speed - Set ISO Choice (Using ISO button on back of camera)
-
Taking the Final Picture (2 x Examples) - Use
the LCD/Viewfinder again on the image scene:-
Centre Frame the desired section of the scene (e.g. a persons head)
- half press the shutter button until you hear a beep (as the lens
autofocus's) -
hold the half shutter button to
* lock exposure
and lock focus. If you require a greater focus magnification -
still holding the
half shutter button, fine tune
the focus using the focus ring on the
lens barrel (magnification is automatic). Now still, while holding
down the half shutter button, press the Menu/Set button on the back
of the camera and the picture will revert to normal size to allow
you to re-frame the overall picture (if required) then - press
the shutter button completely down to take the shot
OR
Frame the scene and change the exposure setting ---- press the
* Control Wheel on the back of the
camera then turn/roll it to change the
* exposure compensation - press it
again to return the Control Wheel to aperture control. Frame the
scene again and press the *
AF/AE Button on the back of the camera which
will
LOCK the desired exposure setting -
but not the focus. Now with the exposure chosen and
locked you have the freedom to focus on any specific area, press and
hold the shutter
button down to lock the focus until you hear a beep (as the lens
autofocus's on that area) and/or if you require a greater focus
magnification - still holding
the half shutter button, fine tune the focus using the focus ring on
the lens barrel (magnification is automatic) - rock the focus ring
until you gain the optimum focus point. Now still, while
holding down the half shutter button, press the Menu/Set button on
the back of the camera and the picture will revert to normal size to
allow you to re-frame the overall picture (if required) then -
press the shutter button completely down to take the shot.
-
NOTE: The Menu System for
A Mode
(also
C1) has
highlights turned on - so in play back image mode it is very easy to
see any blown highlights in an image as they 'blink' black - you can
then fine tune the exposure and use AF/AE lock again to take another
picture (or move to full manual mode)
-
A Mode (Also C1 Mode) Warnings:
*
If you have re-positioned the scene
whilst holding down the shutter button beforehand - the exposure
will be locked and may be the wrong exposure for the final overall
scene. If this is the case you can use the second option - Frame the
scene and change the exposure setting.
* Be
careful when you are using the Control Wheel to turn/roll and change
your aperture as by pressing the Control Wheel you will toggle it
to exposure compensation.
*
Only in A
Mode - Any change of exposure compensation
will always remain until you change it again.
C1 Mode will
revert to original programmed settings if the camera is powered down
or is switched off or the Top Control Dial is moved away from
C1.
*
When
using the AF/AE Exposure Lock, the exposure will
remain locked until the AF/AE Button is again (toggled) pressed or
the camera is switched off, powers itself down or you switch away
from Control A on the Dial and back again).
GF1 Camera - RAW + Jpeg Images
Colour
Using my menu settings (as above) Film Mode=Dynamic
with
RAW + Jpeg
files, the camera will produce a
colour RAW plus a colour
jpeg file. The colour jpegs straight out of the camera are very
impressive. However the exposure settings do have to be 'spot on' to
produce a high image quality with good dynamic range and low noise. The
camera jpegs for 'retention
of detail and dynamic range'
could not match the RAW
file post processed ones developed in SilkyPix Software.
Up to ISO:800
I have not used any 'noise reduction' with SilkyPix RAW development
conversions although the camera by
default does apply very slight noise reduction to camera produced jpegs.
Monochrome
When you set the GF1
up for Film Mode=Dynamic
B+W with
RAW + Jpeg
files, the camera will produce a monochrome jpeg but the RAW file will
be in colour. Using my menu settings (as above)
Dynamic B+W 'Monochrome'
jpeg files straight out of the camera are very impressive and SilkyPix
RAW file post processing development from colour to monochrome to jpeg
has a very hard job to match them. Black and White images have always
been difficult territory (for me) and it can be hard to achieve that
dynamic contrast/noise look that you get with film. The camera jpegs are
very nice, even in Dynamic B+W but they still fall short for my liking.
Up to ISO:800
I have not used any 'noise reduction' with SilkyPix RAW development
conversions although the camera by
default does apply very slight noise reduction to camera produced jpegs.
Digital Workflow
My first impressions of the the Silkypix Software bundled with the GF1
are a bit reserved. I spent a great deal of time reading the manual,
working with the RAW images and now I have a workflow that works
reasonably well >>>
Silkypix to process RAW to tiff and jpeg and any final tweaking in
Canon's DPP Software. With high (ISO:1600+) RAW files, I process them in
SilkyPix, apply 'noise reduction' and then convert them to tiff and
jpegs, with any final tweaking in Canon's DPP Software.
I am also keen to try RAW post
processing using Adobe CS4 + Lightroom but the cost of the software at
this present time prohibits it.
I am not a post processing expert, I have had no training. There is no
special rendering, dodging or burning - it is really down to the
software and using basic controls such as brightness, contrast,
saturation, cropping, re-sizing, noise reduction (if required) and sharpening. I probably sharpen to
much but usually not to the extent of damaging the rendering of the
image. The Panasonic GF1 camera images seem to be able to take a lot of
my post processing abuse.
Dynamic Range - Graduated - HDR
The Internet
reviews are accurate in their description of the 'narrow
dynamic range' of the Panasonic GF-1 in difficult conditions. The is
particularly true when shooting a bright sky with a very dark
ground area. Even with 'measured exposure' the final image can be
unsatisfactory. I have been very lucky to have conducted my 'first
tests' in rain/wind/dark over the last 10 days and so far there is no
letting up in the weather. I had made up my mind 'from the first' that I would use a
graduated gray screw filter (2 stops) in situations where there would be
a dramatic 'stop' difference between the top and bottom of an image -
this way I would broaden the dynamic range of the camera.
Usually when you capture complex scenes in dark weather conditions, even
a '2 stop' graduated gray filter may not cut the mustard - so I was
pleasantly surprised to find that RAW images, which were properly
exposed and originally processed in Silkypix, could be 'tweaked' in
Nik Software and/or Photomatix Software which broadens the dynamic range even more. The
images held very well and I have not used any kind of noise reduction in
my workflow - except for high ISO shots (ISO:1600 +).
Cropping Images
The GF-1
images (shot with the 20mm f1.7 Lens) are holding up very well.
The 20mm lens is producing a 'field of view' of 40mm and I can crop a
portrait image to approximately a 90mm equivalent field of view. This
cropped image is good for (at least) a 16" x 12" Print Size
but beyond that - noise starts to creep in. There is an example of a
cropped image in the image gallery - it is called
'Grand Old Lady'.
Moving
Forward
I am looking
forward to the better weather and I will add more images to the gallery.
The Panasonic GF1 is a great investment with the 20mm f1.7 autofocus lens (no
regrets) but I am keen to try out the GF1 with Nikon AI-s and later
Leica M lenses. I have now purchased the Voigtlander
(Nikon F to Micro 4/3rds) Adapter and I will try it out with my Nikon 50mm f1.4 AI-s
Lens.
Why Use a
Nikon 50mm f1.4 AI-s Lens?
I
have the Panasonic 20mm f1.7 Autofocus Lens (40mm field of view) for
everyday use and it produces excellent image quality. I thought that
perhaps a 50mm Prime Lens would be a nice addition? The question I have to
ask myself.........is there any benefit in using a 50mm (100mm field of
view) manual lens with a GF1 2x crop sensor camera?
I have
listed my reasons below:-
-
I
already have the lens (A second hand 'mint' one costs about £240)
-
It has excellent image quality
-
Its a
manual
focus lens with fixed aperture settings on the
barrel
-
Its excellent for bokeh images
(f2.8 - f8)
-
It has a reasonable 'field of
view' for portraits (no need to crop the image)
-
Its good for isolating and
pulling in images (e.g. people in crowds and distant scenes)
-
Its lightweight and relatively small
-
I love the handling of the lens
Voigtlander
(Nikon F to Micro 4/3rds) Adapter
This is a
black metal adapter which snaps into the GF1 camera lens mount (same as
the Panasonic Micro 4/3rds Lenses are fitted into the GF1 Camera) and
the Nikon F 50mm f1.4 AI-s Lens snaps into the front of the adaptor
(same as if it were being fitted onto a Nikon Camera). The adapter has a
small side ridged chrome lever (instead of a button) to press to
release the Nikon Lens. The adapter section which is visible (once
fitted to GF1 and with Nikon lens fitted) is 27mm or 1.06 inches.
The main visible part is black and 25mm in size plus a small visible
chrome part (nearest the lens back) about 2mm.
The
Voigtlander adapter is fitted clockwise into the GF1 lens mount and the
Nikon F lens is fitted counterclockwise into the Voigtlander adapter
(reverse procedure for removal).
The
Voigtlander F Adaptor performed flawlessly and reached all my
expectations.
GF1 + Nikon 50mm Lens - Ease of Use
Click here to Jump to my GF1 -
Menu + Control Dial Settings Window
The Panasonic
GF1 Digital Camera, the Panasonic
DMW-LVF1E
'External Live' Viewfinder, the Voigtlander Adapter and
the Nikon 50mm f1.4 AI-s Manual Lens provide an
excellent combination for capturing (100mm field of view) images. I
set-up the GF1 similar to a small rangefinder camera. The
only downside with the adapter, the lens and a UV filter is the overall
size, which is 75mm or 2.95" from the front edge of the UV filter
(lens focus retracted) to the
camera body. When the lens is focused for close up subjects the
additional maximum increase is 8mm - never the less, the combo is
excellent.
When I was using the
LCD screen, I found the GF1 very difficult to hold steady and to
manually focus my Nikon lens, especially when I was increasing the focus
magnification. I found that using the Panasonic
DMW-LVF1E 'External Live' Viewfinder was a better option.
Using the
GF1 like a Rangefinder with a Manual Lens
Taking an
Example Shot - using my Menu
C2 (C2-1) Settings - - - - - Steps:-
-
Switch on the camera
-
Turn top dial to C2 (This is my CONTROL set-up
for Aperture Priority, Dynamic Colour and a Manual Lens)
-
The Exposure Meter is already set-up for 'Full
Multiple Metering Area' (you can use the Fn Button on the back of
the camera to change this if desired) This example shot will use
'Full Multiple Metering Area'
-
The focus is decided by the Nikon Lens (The
Focus Ring on the Barrel)
-
Using the LCD (or better
DMW-LVF1E
'External Live' Viewfinder) - check your image's scene
-
Turn Nikon Lens aperture ring to desired
aperture setting (it does not register in LCD/Viewfinder or EXIF
File). The exposure meter works correctly and will change the
shutter settings and shutter readouts as you change the aperture
using the ring on the lens barrel.
-
Check your
shutter speed (LCD/Viewfinder) against your choice of aperture
setting (the exposure meter will select the shutter speed for you)
-
As per your aperture choice and DESIRED
shutter speed - Set ISO Choice (Using ISO button on back of camera)
-
Taking the Final Picture (2 x Examples) - Use
the LCD/Viewfinder again on the image scene:-
Frame the desired section of the scene
(e.g. a persons head) - manually focus the Nikon lens using the
focus ring on the lens barrel (rock the focus ring until you gain
the optimum focus point). If you require a greater focus
magnification - press the *
Control Wheel on the back of the camera and fine tune using the
focus ring on the lens barrel. Another roll/turn to the right of the
Control Wheel will further (once only) the magnification -
now half press
and hold the shutter button to *
lock exposure - the magnification will cease
and allow you to re-frame the overall picture (if required). Press
the shutter button completely down to take the shot
OR
Frame the scene and change the exposure
setting ---- turn/roll the Control Wheel on the back of the
camera (do not press the Control Wheel) to change the
* exposure compensation.
Frame the scene again and press the *
AF/AE Button on the back of the camera which will
LOCK
the desired exposure setting. Now with the exposure chosen and
locked you have the freedom to focus on any specific area. Manually
focus the Nikon lens using the focus ring on the lens barrel (rock
the focus ring until you gain the optimum focus point). If you
require a greater focus magnification - press the Control Wheel on
the back of the camera and fine tune using the focus ring on the
lens barrel. Another roll/turn to the right of the Control Wheel
will increase the magnification -
now
half press the shutter button and the magnification will cease and
allow you to re-frame the overall picture (if required) -
press the shutter button completely down to take the shot.
-
NOTE: The Menu System for
C2
Mode has highlights turned on - so in play back image mode it is
very easy to see any blown highlights in an image as they 'blink'
black - you can then fine tune the exposure and use AF/AE lock again
to take another picture (or move to full manual mode)
-
C2 Mode Warnings:
*
The Control Wheel with a manual lens, changes its mode of operation - it
is by default in exposure compensation mode. You must be careful when
you press it because if you 'miss the press' you may roll it and change
the exposure compensation.
*
If you have re-positioned the scene whilst holding down the shutter
button beforehand - the exposure will be locked and may be the wrong
exposure for the final overall scene. If this is the case you can
use the second option - Frame the scene and change the exposure
setting.
*
With
C2 Mode any change of exposure compensation will
always remain until you change it again or the camera is switched
off, powers itself down or you switch away from Control
C2 on the
Dial and back again.
*
When using the AF/AE Exposure Lock, the
exposure will
remain locked until the AF/AE Button is again (toggled) pressed or
the camera is switched off, powers itself down or you switch away
from Control
C2 on the
Top Dial and back again).
I
initially experienced an
Infinity
Focus Malfunction
with the
Nikon 50mm f1.4 AI-s Lens but finally after many tests, I tracked down
the causes.
-
The Nikon 50mm Lens with the Voigtlander
Adapter and the GF1 Camera at aperture f1.4
does not reach infinity focus at the hard stop on the lens barrel -
it is actually an almost 'immeasurable distance' just before the
hard stop and when placed in the hard stop position the lens is
'very slightly' out of focus. This does not occur with the other
aperture settings as the 'depth of field' increases whereby the hard
stop is at infinity focus.
-
When using a B+W '2 stop' graduated (screw
circular) 52mm filter on the naked lens - the lens is thrown
seriously out of focus in the final captured image. This is even
after 'manually focusing' the lens/graduated filter and reaching a
fine focus using the 'magnification function' of the camera and the
LCD - a heavy tripod was also used.
I have
checked with my GF1 supplier who has confirmed the 'same error' when
using an ND Filter on the GF1 with his own manual lenses. My B+W 2
stop gray grad filter on the Panasonic 20mm f1.7 Lens does not
produce any focus problems in the captured image (at any distance).
If
there is any Golden Rule - it is to always
'manually focus' the lens - even with shots that are thought to be an
infinity hard stop setting.
The GF1
with Voigtlander F Adapter and
Nikon
50mm f1.4 AI-s Manual Lens - Image Quality
GF1
Infinity Tests
Initial
tests revealed that for 'manually focused' infinity shots -
the GF1 with the Voigtlander Adapter and the Nikon 50mm f1.4 AI-s Lens
delivers reasonable image quality at f2, excellent at f2.8 to f4,
optimum at f5.6 and f8, excellent at f11 and reasonable at f16. At f1.4
the lens produces a slight dreamy effect but also a
reasonable image quality.
The infinity
samples of a house are shown in the gallery below - the green fir
tree was used as the infinity (manual focus) check point. The images
were processed in SilkyPix and they all had their saturation, contrast and sharpness slightly
increased. Contrast was more heavily applied starting at f1.4 but by
f2.8 to f16 all the contrast increases were much less. The front post to
the left of the image makes a nice marker to help measure the depth of
field. CA is apparent in some top leaves on the trees (in line with the
left most chimney) between f1.4 and f4 - I think it properly disappears
at f5.6 and is gone through to f16. The f5.6 and f8 apertures seem to be
the sweet spots for resolution and a sizeable depth of field.
I also
compared tests with the naked lens and the lens fitted with an B+W UV
filter - I could not measure any difference in image quality.
Nikon 50mm
f1.4 AI-s AI-s Manual Lens - Infinity Test Images
(Click on thumbnail to go to 1,000 pixel size)
GF1 Bokeh
Tests - Close up Subject
I have started some bokeh tests and the first ones I have taken are
shots of a close up subject with 'fairly even' back lightning. Time will
tell how the GF1 and this Nikon Lens will handle bokeh in more distant
subjects with harsher lighting?
The bokeh shots below have the focus point on the man's nose tip. The
camera was placed on a tripod with the sensor plane approximately 55.9cm
(22") away from the main focus point.
Initial
tests revealed that for 'manually focused' shots -
the GF1 with the Voigtlander Adapter and the Nikon 50mm f1.4 AI-s Lens
delivers excellent bokeh throughout f1.4 to f16 with excellent image
quality commencing at f2.8 with optimum image quality from f4 all the
way through to f16. At f1.4
and f2 the lens produces reasonable image quality. The depth of bokeh is
very narrow at f1.4 to f8 and it is only at f11 that the depth increases
enough for the woman's nose tip to come into focus. The distance between
the tip of the man's nose to the tip of the woman's nose is 30mm
(1.18"). The 50mm lens minimum focus distance is 43.2cm (17") from a
subject to the camera's sensor plane.
Nikon 50mm
f1.4 AI-s Manual Lens - Bokeh Test Shots (Click on
thumbnail to go to 1,000 pixel size)
If you have enjoyed this
article - please donate to my Charity of Choice - The Sick Kids
Richard
Lawrence
Scotland
United Kingdom
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