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Panasonic L-Mount S 24mm F/1.8 Wide-Angle Lens Announced – See Sample Photos

Panasonic L-Mount S 24mm F/1.8 Wide-Angle Lens Announced - See Sample Photos

Panasonic LUMIX S S24 Slant |
 

Panasonic has a new large-aperture, wide, fixed focal length lens to introduce to its line-up of optics for the L-Mount system which is compatible with cameras such as the Panasonic Lumix S5

The Panasonic Lumix S 24mm f/1.8 is three of four f/1.8 aperture lenses to be introduced that are compatible with the L-Mount system standard –  an alliance set up by Panasonic, Leica, and Sigma to bring together Full-Frame and APS-C cameras and lenses all using the L-Mount. The other lenses, also, introduced to date include the Panasonic Lumix 85mm (S-S85) and Panasonic Lumix 50mm (S-S50).

Pricing & Availability: The Lumix S 24mm f/1.8 will be available from the end of September with an RRP of £799.99.

You can learn more about the Panasonic Lumix S 24mm f/1.8 from Panasonic below who have also shared sample photos captured with the lens.

 

Panasonic L-Mount S 24mm F/1.8 Other sample images

 

From Panasonic UK: 

Panasonic LUMIX S5 S S24 Slant K |
 

Panasonic is pleased to introduce a new large-aperture wide fixed focal length lens, the LUMIX S 24mm f/1.8 (S-S24), as the third addition to the series of four f/1.8 large-aperture lenses based on the L-Mount system standard. A total of four f/1.8 fixed focal length lenses from the LUMIX S Series, including 85mm (S-S85), 50mm (S-S50) and the new 24mm (S-S24) lens, feature a common size and position of control parts to provide practical advantages in use. The center of gravity of these lenses is almost the same so that it is easy to exchange lenses quickly with minimum balance adjustment when the camera is on a gimbal. Common filters can also be used thanks to the same diameter. The descriptive performance of these lenses is also consistent.

The LUMIX S 24mm f/1.8 is comprised of twelve lens elements in eleven groups including three aspherical lenses, three ED (Extra-Low Dispersion) lenses and one UED (Ultra Extra-Low Dispersion) lens. The use of three aspherical lenses realises both high descriptive performance and beautiful bokeh, which are common advantages to the series of all F1.8 lenses. The ED lenses and the UED lens effectively suppress chromatic aberration.

L-Mount S 24mm F/1.8
The LUMIX S 24mm f/1.8 is capable of smooth, silent operation to work with the camera’s AF system with the sensor drive at max.240 fps. For the non-linear setting, focus is shifted with a variable amount according to the rotation speed of the focus ring while the focus is shifted with a designated amount according to the rotational quantum of the focus ring for the linear setting. Sensitivity (the amount of focus shift per rotational quantum) can be selected from 90 to 360 degrees by 30 degrees to enable intended focus operation. The LUMIX S 24mm f/1.8 also excels in video recording performance with a mechanism that suppresses focus breathing. Together with a micro-step aperture control for smooth exposure change, professional-quality video can be recorded.

With its approximately 310g compact size and lightweight, the LUMIX S 24mm f/1.8 features stunning mobility to fit the S5, LUMIX’s smallest full-frame model. The rugged dust/splash-resistant design withstands use under harsh conditions even at 10 degrees Celsius below zero. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

With the addition of the upcoming standard 35 mm fixed focal length lens and the four f/1.8 large-aperture lenses of the LUMIX S series, the Panasonic and L-Mount system alliance is committed to the development of L-Mount lenses for the further expansion of its lineup to fulfil the needs of customers.

 

Panasonic L-Mount S 24mm F/1.8 Photos of Equipment

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Now you see it…..

johnriley1uk's latest blog : the cameras with the wonderful lenses


Now you see it..... 1
….now you don’t! And it can be that quick for something to unexpectedly disappear. We were out and about shooting sample pictures for lens reviews and chose Worsley a couple of days ago. W…

Now you see it..... 2 Now you see it..... 3 Now you see it..... 4 Now you see it..... 5

Now you see it..... 6

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dudler’s latest blog : we shall not see their like again

dudler's latest blog : art, snap or reportage

We shall not see their like again

6 May 2021 7:52AM  
Views : 101
Unique : 80

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It’s a phrase we sometimes hear when somebody wants us to share a nostalgia they feel, and which they realise that we may not be particularly interested in. When I talked to my wife about the subject in my lead picture (and my gallery post today), she was deeply unimpressed.

I grew up with fences like this one. I don’t know who made them, but I suspect one firm in the north Midlands produced them all – if anyone knows for certain, please post a comment. They certainly aren’t specially beautiful, but there were quite a lot around in North Staffordshire and Derbyshire in the Sixties: a particular response to the need for quick and durable fencing where – for instance – a dry stone wall had crumbled, or a hedge had died, perhaps.

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We won’t see them again because the modern response is concrete and barbed wire, or perhaps showy new wooden fencing – or, even, a freshly-planted and laid hedge… We may well see more traditional boundaries appear as people become more willing to use labour-intensive solutions which share employment and prosperity, and encourage wildlife. I certainly hope so!

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Maybe a factory in China will start making a similar product: but I think that won’t happen. It’s not, now, an elegant technical solution, or a beautiful one, so it will meet the same fate as all the workaday chairs and tables that local carpenters made when Chippendale and Sheraton furniture was emerging from cabinet makers’ workshops. Nobody’s going to make special efforts to preserve it, until we’re down to the last fifty-foot stretch on a farm near Stoke-upon-Trent, when it’ll get whipped into a heritage museum, or slung on the back of the last rag-and-bone Transit passing by.

So, when you go out for a walk today, keep your eyes open and your lenscap off, and see if you can find something that has been around for fifty, or a hundred, or two hundred years, and won’t be replaced when it is damaged…

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dudler’s latest blog : sometimes i see the light

dudler's latest blog : art, snap or reportage

Sometimes I see the light

28 Apr 2021 6:45AM  
Views : 38
Unique : 33

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Here’s one of the ideas that came from a short blog the other day. It’s about seeing the light, by which I mean recognising beautiful light, and then working out how to use it. For me, in my normal photographic mode, that means seeing when the studio lights are giving a particularly striking effect, and sometimes fine-tuning it. For a landscape photographer, it’s often about anticipation – and then it’s about patience.
Good light is partly a state of mind: there are days when the light level is low and the shadows seem empty, but I wonder if that’s just in my head… A grey day means low contrast, so that subtle things show in an image, though you may have to seek them out with the contrast slider when you process the pictures.

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So good light isn’t the whole story: sometimes, there’s work to do in editing, and you will need to be able to recognise the potential, or you won’t shoot the image. That takes us into the territory that Ansel Adams staked out with the word ‘previsualisation’ – the ability to visualise the finished picture, and a mental plan for getting from the scene to the final print. To get to this, you will need to spend time blundering around processing, filters, effects and the rest, so that you can see a scene or person and decide that you need to expose carefully for the shadows, then increase contrast, convert to mono, and add colour toning.

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I love the dark grey sky after a storm, when the sunshine makes the fresh-washed landscape sparkle even more because of the contrast with the dark sky – it’s worth pausing and maybe darkening it further with a some burning in, or even a levels adjustment layer and a mask. And in the studio, I have a lot of fun with low key work. Sometimes, good light is simply a matter of angle rather than precisely what softbox or reflector you use. (I get excellent mileage from a beauty dish of around twenty inches diameter.)

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Rim lighting always looks great when you spot it… Beware, though – you may find that you blow the highlights if you don’t apply some exposure compensation, and that usually spoils the effect. Definitely shoot RAW and go from there, so that you can choose whether to have dead black or velvety shadows behind.

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Catastrophe theory isn’t far away from spectacular light: you need to notice the difference between the effect of high noon sunlight on weathered metal and wood. and the results with a human face (disastrous selfie attached: testing an IR remote) and put together your mental little black book of good and bad combinations.
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dudler’s latest blog : i see the moon, and the moon sees me. but?

dudler's latest blog : mirrorless - and why they?re (arguably) better

I see the moon, and the moon sees me. But…

28 Nov 2020 7:43AM  
Views : 110
Unique : 81

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I was sitting in my office in the loft when my wife invited me to join her in the candlelit summerhouse, which was warm and good for relaxing in. I went out with a book: and then came in again for a camera and tripod.

A beautiful, bright, nearly-full moon, was shining on the summerhouse, so I could put my biggest, heaviest tripod on it with little risk of wobble (I thought). I collected the most extreme telephoto gear I own – a 500mm Minolta mirror lens, with a Jessops 2x converter, strapped to the front of an Alpha 7R III with a Minolta/Sony adaptor in there. So a metre of photographic reach – and rather outdated AF – the converter seems to use more or less the AF module and drive from my old Alpha 900 – nine focus spot, all towards the centre of the field. It couldn’t lock onto the moon, anyway…

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Now, the Minolta mirror lens is a first-generation AF optic, and while you can focus it manually, the focus ring is not terribly nice: there’s play and backlash, and it’s EVER so sensitive. Also, even a hefty Manfrotto tripod that is both awkward and unpleasant to carry for more than around fifty feet fails to prevent what I can only describe as tremor on the screen at 14x magnification for focussing. A certain lack of success followed, and much frustration. I reckon a cheap 2x converter wasn’t helping.

OK, time for Plan B, which was my Olympus OM-D EM-1 with a 75-300 zoom, again falling a bit short of ‘strong and stable’, but with the aid of a 2-second delay and the rather better MF feel of a much more modern lens I got there. At least this time the magnified view had a vestige of focus peaking visible, though the image is much noisier.

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Clearly, the images aren’t up to snuff for any use other than inviting ridicule, and proving to me that there are branches of photography I am unlikely to master. Of course, practice helps refine the technique. Of course, someone who doesn’t usually carry a lens longer than 85mm and has not invested heavily in telephotos is at a disadvantage. And (of course) I am not going to invest in a long and sharp lens, because I would use it so rarely…

Feel free to mock, and also to offer practical advice to others who may want to try to shoot the moon: I’ll settle for the first frame I took this evening, with an 85mm lens at full aperture, blurring the moon behind the branches of our neighbour’s apple tree.

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dudler’s latest blog : i wanna see the sunshine after the rain

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I wanna see the sunshine after the rain

23 Aug 2020 12:17PM  
Views : 73
Unique : 59

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A chance comment by a photographer on her image yesterday set me thinking about our relationship with rain (and Elkie Brooks).

The first level of photography (and going out for a walk or a drive) is to want to have golden sunshine. We settle down with a good book and a cuppa when it’s raining.

But there are real, fast-moving and delightful possibilities if you seek them out. The blur of sheets of rain – even, if you’re a passenger, clouds of spray on a busy motorway. The rush of water along a gutter.
A few days ago, I wrote about photography at the cusp, dancing along the cliff edge. And that’s what I want to suggest to you today. When the clouds are gathering, shoot them. Photograph the sunbeams cutting through the gloom. Watch the bright patches moving across the landscape like a spotlight sweeping across a stage.

Sometimes, the rain hits while the sun is still creeping under the edge of clouds – it’s beautiful, very likely to disappear in seconds, so be ready for it. Have your camera out, chose your settings in advance, because the light won’t last long.

And after the rain, when the sun breaks through, there will be a shine and a glisten to everything. A moment to treasure, as Chrissie did with her shot…

You don’t need a weatherproof camera, though it certainly helps. But if you shield your kit until the last moment, and dry it off afterwards (paying particular attention to places where water might get in – round the shutter button, cracks between rings on the lens) it’s unlikely that you’ll suffer damage. You can even get a little rain cape that fits most camera/lens combinations – or you can lash one up for yourself with a couple of rubber bands and a polythene bag.

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And here’s the link to the picture that set me thinking: https://www.ephotozine.com/user/dudler-11864/favourite-photographers/photo/-beyond-the-shelter—-are-we-2020-abstracted-vision—60543909

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