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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3
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It depends on the range really. A 24-70mm is definitely 3-4 primes for me but something like the Canon 35-350mm is a different animal. Leica used to do these two lenses They are referred to as MATE (Medium Angle Tri-Elmar) and WATE (Wide Angle Tri-Elmar) and are “zoom” lenses with fixed focal length stops. The MATE is stepped at 28-35-50mm and the WATE at 16-18-21mm which on their intended use (Rangefinders) were used with a specific ad on viewfinder that was so clunky it is known as the Frankenfinder. They are not fast but are compact and have focal length stops that make sense so are very much a bag of primes (and very much more useful adapted on to an EVF body). Some Panasonic fixed lens cameras (LX10 and LX100 spring to mind) emulate this by allowing you to use the zoom ring to increment to fixed focal lengths and it is a good feature especially on those with return to position on power on functionality. I *think* some of the Sony RX100 do this as well. -
Apparently Sony is working on a smaller LOFIC sensor now, so swapping to LOFIC may well mean sticking with Sony, especially if you already have a deal of some kind worked out. -
I suggested in the other group that Panasonic should put LOFIC sensors in their ILCsand someone went on about mythical organic sensor, which quite frankly may remain just that. Panasonic should just put LOFIC sensors in all their new cameras, and ditch Sony if it doesn't improve sensor tech enough. I would love to see an Even Smaller GX camera with a 20-50MP 1inch LOFIC sensor. The LX10 is frankly too large for most pockets. -
I recently watched a video where a street photographer tested his first 40mm lens, after only ever shooting with 35mm and 50mm lenses previously, and he couldn't really make heads-or-tails out of it in the week he had it. You could tell from the video that he found it different than a 35mm or 50mm, and that didn't surprise me, but what did catch my attention was that he didn't really even know how to explore and learn a new focal length. After reflecting on that video for some time I realised that: Lots of people must "learn" the focal lengths by sort-of memorising them based on external influences rather than just using them and learning first hand through experimentation With MFT and S16 cameras I'm used to using all sorts of "odd" focal lengths because I'm adapting all kinds of lenses from other systems with/without speedboosters and add-on anamorphic and spherical adapters I'm also used to getting a new focal length and using it blind and over the course of many outings of shooting with it gradually learning what impacts it has on what I shoot, how I shoot, how I walk around, how I begin to look at the world, how the world adapts to me once I adapt, how I feel when the world reacts to that, etc.. Using a zoom isn't like having a complete set of primes at all, it's almost like a different genre or different type of shooting entirely, but I'm quite familiar with that as well Now, when I think about using a particular focal length that I'm familiar with, all kinds of stuff comes to mind, and when I think about using one I am not familiar with, I don't know how to think about it at all.. the focal lengths are all so incredibly different. Having a camera with a 20mm and a 60mm seems like: - the people who don't know what they're doing won't notice (as they're confused about everything already) - the people that are used to shooting with primes will have an awkward and steep learning curve that they might not navigate that well - the people that know how to learn new focal lengths will probably adapt, but given the 35mm and 50mm FOVs are at the worst end of the main lens, they'll likely have a difficult experience choosing between a 2.5x crop of the main camera to get 50mm, or losing the DR and colour profile on the 60mm lens It might be that these are actually ideal for the type of shooting that people will use this camera for, and it's the normal FOVs that are ill-suited, but if you've "learned" the 24/28/35/50/85/100mm FOVs then it'll be a serious transition to navigate.
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It lets them hit attractive spec points like 3x optical zoom and 12x zoom when using the digital shenanigans. Although the 3x optical zoom is actually 3x switch as the intermediate points are digital and if you are in D-Log2 then it’s a hard switch as there is no digital zoom. I think 45mm equivalent would’ve been better from a practical point of view but 2.25x optical zoom and 9x total zoom doesn’t look as good in the marketing. Even though 20-190mm equivalent is still not too shabby ! A good practical look at the challenges around shooting with it in this video.
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