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Design-wise, the barrel is very simple. The broad zoom ring rotates 90° from wide-angle to telephoto, and is smooth enough to provide precise framing. In front of it the narrow manual-focus ring provides control by wire, with no change in feel as it passes the focus group’s end stops. However, I suspect few users will disengage autofocus anyway, as there’s very little incentive to do so. Indeed, there are no physical switches on the lens barrel, with both AF and OIS are controlled solely through the camera’s menus. Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Asph Power OIS: Autofocus It is possible to assign [HDMI RAW data output] function to the Fn button and users can directly turned it ON or OFF from the camera. The Lumix G Vario 12-60mm f/3.5-5.6 Asph Power OIS has a very useful range and combined well with the 16-megapixel G80 producing detailed images Working together with ATOMOS, a global company that creates innovativetechnologies and cloud services forfilmmakers everywhere, the new firmware enables the output of up to 5.8K / 29.97p and C4K / 119.88p RAW video data over HDMI to be recorded as Apple ProRes RAW on ATOMOS NINJA V and NINJA V+devices.
Any chance you've used a 12-35mm f/2.8 II? Don't know if I just got a bad copy, but i've not been impressed with mine. Panasonic has again succeeded in making attractively priced kit lenses with good image quality for their G-series cameras. I first think about the professional Panasonic 12-35 mm f/2.8. The Panasonic 14-140 mm, with its fast and quiet AF, is also nearly indispensable for amateur photographers and videographers who do not want to change lenses, or as little as possible. And the inexpensive and super-compact Panasonic 12-32 mm is an absolute must for starters and amateurs. These zoom lenses are sold as a kit in combination with Panasonic cameras and in that case offer a great deal more value for the money. All three of these kit lenses are equipped with built-in image stabilization, and they offer high image quality for the price. “ What else could you wish for in new micro-43 lenses?” you might think.I am somewhat biased as the Leica changed my photography and took me away from point and shoot and thinking much more about how and why I take photos. Is it perfect? no; like the 14-150 and Lumix 12-60 it is a compromise lens and I am prepared to live with those compromises. Both of these lenses are terrific new additions to the world of Micro Four Thirds lens choices. For me, the 12-60mm has become my go-to lens for almost all my travel photography, now coupled with the new Leica 8-18. The super wide 8-18mm allows for a considerably wider views of interiors I often shoot in Europe. But overall, during our last trips that included Croatia, Slovenia, and France, almost 95% of all my pictures were taken with the Leica 12-60mm F/2.8-4. Whether you decide to buy the Leica or the Olympus, it will most likely depend on how light you want to go since the Leica is a bit lighter than the Olympus. I’ve carried both and I will admit that I feel the Olympus more when it’s on a camera hanging from my shoulder. You could make the argument that having that additional reach of the Olympus’ 100mm (200mm equivalent) that you have a perfect combination when pairing it with the Leica 100-400mm. But I’ve found I don’t miss the additional 80mm, and giving that up for the lighter weight and bulk seems a worthwhile trade off. But I do a lot of printing on all kind material and in common editing I do lots of pixel peeping and the mind has required to be rewired years ago that what you see in 15x magnification ratios doesn't matter when all is good enough.
I myself experienced a lot of sample variation with the 45-150 (2 lemons!) and the PL 12-60 (1lemon). If you already own the Lumix 12-60mm, regardless of whether it was bought in a camera bundle or separately, my advice would be to keep it and invest in a few good fast aperture primes, as they’ll give you what neither the Lumix nor Pana-Leica can: a very pleasant bokeh, good subject separation, and the possibility to keep your ISO values down in low-light situations. Below you can watch our video review of the Panasonic Leica 12-60mm f/2.8-4.0. It contains all the most important information about the lens, including the design, build quality, optical quality, autofocus performance, optical stabilisation, and some extra considerations. good)Primes are always better in absolute sharpnes vs a good zoom, moving parts creates compromises and distortionflaws.However, the numbers don't cover the subjective aspects such as rendering of colours, creaminess of blur, etc. I almost bought an used PL 12-60 until I did the same comparison using OpticalLimits. I tend to use my 12-35/2.8 (dispute some edge softness) instead of the kit lens as I prefer the constant aperture and 2 stops wider aperture; I have to say that for what you are planning to use your camera on the Olympus might be a better option. I’ve always loved the Lumix G9 but the Olympus bodies do have considerably better Image Stabilization. When shooting under the dark forest canopies this could be an advantage. If you are looking for something a bit larger for better handling with a heaver lens I would suggest the Olympus E-M1X. It’ defiantly larger but not a lot heavier. One handy feature is the minimum focus distance of just 25cm at the telephoto end. This gives 0.54x equivalent magnification, meaning that the lens can fill the frame with a subject measuring 6.4×4.8cm. It can be useful for shooting close-up images of subjects such as flowers and insects. Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Asph Power OIS: Build and handling
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