Panasonic 14mm F2.5 and 100-300mm F4-5.6 lenses - quick preview
1 14mm F2.5 Pancake Lens
Panasonic officially unveiled two long-expected Micro Four Thirds lenses alongside its DMC-GH2 interchangeable-lens camera - the 100-300mm F4-5.6 ultra-telezoom and the 14mm F2.5 wideangle. In addition it announced the commercial incarnation of a 3D stereoscopic lens which is primarily designed to produce images for viewing on its Viera TVs.
The 14mm F2.5 and 100-300mm F4-5.6 sit at almost diametrically opposite positions in the Micro Four Thirds lineup - the telezoom is the largest, heaviest and longest lens yet made for the system, whereas the wide prime is one of the smallest (and certainly the lightest) interchangeable autofocus lenses we've ever seen. Let's take a closer look, starting with the pancake prime.
Panasonic Lumix G 14mm F2.5 ASPH Pancake
The Lumix G 14mm F2.5 ASPH (also known as the H-H014) is Panasonic's second slimline 'pancake' prime for Micro Four Thirds, and has a 28mm-equivalent wideangle field of view. It's gained a welcome third of a stop maximum aperture from the original F2.8 design Panasonic originally exhibited at trade shows early in 2010, meaning that it's now capable of gathering twice as much light as the various Micro Four Thirds kit zooms which start at the same focal length.
The most striking aspect of the 14mm F2.5 is its size. In a word, it's tiny; in two words, really tiny. We must admit to being somewhat skeptical about the value of this lens in a system that already boasts no fewer than seven zooms covering this focal length, but the moment you take it out of the box you begin to understand Panasonic's line of thought. Resembling nothing more than a 20mm F1.7 that's been shrunk in the wash, the 14mm is substantially smaller than its stablemate, and noticeably more petite than even the Olympus Zuiko Digital 17mm F2.8 Pancake. Panasonic goes so far as to claim that it's the 'world's lightest interchangeable single focal length lens', tipping the scales at a featherweight 1.9 ounces (55g).
To achieve this Panasonic has gone to town on the optics: squeezed into the ultra-short barrel are six lens elements, no fewer than half of which boast aspheric surfaces. Internal focusing is employed, promising high speed and low noise for movie shooting. Owners of the 20mm F1.7 will be pleased to see the same size filter thread (46mm), but may also find themselves re-engaging in the pastime of sourcing a suitable third-party hood (as Panasonic again don't supply one with the lens).
The 14mm F2.5 has a design immediately reminiscent of the 20mm F1.7. Despite its light weight it feels just as well made as its big brother, with a smoothly-damped manual focus ring and solid-feeling construction. To complete the package, it comes with new slimline front and rear caps (click here for a picture), which better complement the 'pancake' concept than the chunkier ones which are supplied with the 20mm F1.7 (credit to Panasonic for this, it's always nice to see a company paying attention to the small details).
On the camera
These views give some perspective on just how tiny the 14mm F2.5 really is - it looks almost comically small on the GH2 (which isn't exactly huge), and its slim lines are apparent from the top-down shot on the GF1.
The lens's dimensional minimalism really begins to make sense when you think of it as a complement not to the kit zoom, but to Panasonic's other small primes: the wonderful 20mm F1.7 ASPH and the Leica-branded 45mm F2.8 OIS Macro. Put these together and you have a modern-day equivalent of the three-lens kits that came with classic 35mm cameras such as the Leica CL(E) and Contax G1 / G2, and which are so light you'll be able to carry them around all day and night and scarcely notice. (Of course what we'd still really like to see for Micro Four Thirds is a wider prime around the 12mm mark, plus a true large-aperture 'portrait' lens, maybe something like a 50mm F1.4. Hopefully these will show up in due course.)
Compared to other pancake lenses
Here's the 14mm sitting snugly in the midst of a number of other contenders in this currently-fashionable segment. None of these could ever be described as large, but the 14mm is clearly the smallest of all. This despite being the second-widest in this group, and slightly faster than the other wideangle designs.
|Five Flavors of Pancake. From Left to Right: Samsung 20mm F2.8 (30mm-equivalent), Sony 16mm F2.8 (24mm-equiv.), Panasonic 14mm F2.5 (28mm-equiv.), Olympus 17mm F2.8 (35mm-equiv.), Panasonic 20mm F1.7 (40mm-equiv.)|
Panasonic Lumix G 14mm F2.5 ASPH Specifications
|Price|| US: $tbc
|Manufacturer's product code||H-H014|
|Date introduced||September 2010|
|Maximum format size||Micro Four Thirds|
|35mm equivalent focal length||28mm|
|Diagonal angle of view||75°|
|Lens Construction||• 6 elements/ 5 groups
• 3 Aspherical elements
|Number of diaphragm blades||7, rounded|
|Minimum focus||0.18m / 0.59ft|
|Maximum magnification||Approx 0.1x|
|AF motor type||DC Micro motor|
|Focus method||Internal focus|
|Filter thread||• 46mm
• Does not rotate on focus
|Supplied accessories*||• Front and rear caps
• Lens case
|Weight||55g (1.9 oz)|
|Dimensions||55.5mm diameter x 20.5mm length
(2.2 x 0.8 in)
|Lens Mount||Micro Four Thirds|
Preview Samples gallery - 14mm F2.5 on GH2
There are 30 images in the samples gallery. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing, we do so in good faith, please don't abuse it.
Unless otherwise noted images taken with no particular settings at full resolution. A reduced size image is provided to be more easily viewed in your browser. As always the original untouched image is available by clicking on the 'original' link.
|Panasonic DMC-GH2 14mm F2.5 ASPH samples gallery Posted 8th October 2010|
The Pixii camera is an interesting little rangefinder camera that features a 12MP APS-C sensor and lacks a rear LCD display, opting instead to pair with your mobile device, which can be used to view and transfer images.
Sirui is launching an Indiegogo campaign for a wide-angle answer to its existing 50mm F1.8 anamorphic lens. The 35mm APS-C lens will come in a Micro Four Thirds mount with adapters for other systems.
Sony has added a 12-24mm F2.8 to its top-shelf 'G Master' series of lenses. It's the widest constant F2.8 zoom currently offered for full-frame, with a hefty price tag to match: it will sell for $3000 when it ships in mid-August.
Take a look at the view from Sony's new ultra-wide F2.8 zoom – we paired it with the a7R IV for some initial shooting.
Canon's EOS-1D X Mark III is one of the best DSLRs ever made. With fast burst speeds, great video quality and impressive autofocus, the 1D X III is equal parts cinema rig and sports shooter. Find out how it fares against steep competition in our full review.
Nikon Rumors is reporting that Nikon will announce successors to its Z6 and Z7 camera systems by the end of the calendar year.
Canon says the event, set to take place at 14:00 CEST in two days on July 9, will be its 'biggest product launch yet.'
The Verge Video Director, Becca Farsace, shows how she built a custom Raspberry Pi camera with effectively zero coding knowledge over the course of just three days.
The EOS R5 has been in the works for some time, and Canon has published a handful of specifications, but there's still plenty we don't know. What are you hoping to see from Canon's forthcoming flagship camera?
Canon's CE-SAT-IB satellite camera was destroyed alongside six other satellites during Rocket Lab's ironically-named 'Pics or It Didn't Happen Mission.'
This sample gallery includes images from our recent review of the Tamron 28-200mm F2.8-5.6 Di III RXD zoom lens. Check out these photos to see how it performs, from wide-angle to telephoto and everything in between.
The Tamron 28-200mm F2.8-5.6 Di III RXD provides a wide zoom range in compact, weather-sealed design. Find out why it's Chris and Jordan's new favorite travel lens.
Kodak Portra 800 is a wonderful and versatile color film. And any rumors of it being discontinued, we're pleased to report, are simply untrue. That's a good thing, because it's capable of producing lovely results in all sorts of conditions.
Boering has left the World Press Photo without much of an explanation from either him or the organization, but he tells DPReview the COVID-19 pandemic is forcing the WPP to change the way it makes money.
The standard-size deck of playing cards features unique photography-oriented artwork and act as cheat sheets for photographers.
The Sony ZV-1 and Panasonic Lumix DC-G100 are the first cameras we've seen that are overtly designed with vlogging in mind – and the changes they represent could have implications for the future of all cameras.
The utility allows the E-M1X, E-M1, E-M1 Mark II, E-M1 Mark III and E-M5 Mark II cameras to be used with video conferencing apps over USB.
Olympus is showing final images of its under-development 150-400mm F4.5, which it says will arrive this winter. An unspecified macro and 8-25mm F4 Pro have also been added to the lens roadmap, and the E-M1X's AF gains bird detection.
The scam, which involves sending fake copyright violation notices, has been circulating on the social media platform since at least June 9.
Fujifilm is one of just two producers of tape media (the other being Sony) and it is hard at work on a breakthrough that will allow single tape storage drives to offer 400TB capacities in the coming years.
The National Parks Service says it's investigating the incident, which took place just two days after the park opened following a shutdown due to the COVID-19 pandemic.
Professional full frame lenses are usually large and have fast apertures. In this episode of DPReview TV, Chris and Jordan argue that there's a need for slow professional lenses – inspired by some of their favorite Micro Four Thirds lenses.
The camera maker joins Olympus, Fujifilm and others is a legal tussle over US digital camera technology patents held by DigiMedia Tech.
NASA's Solar Dynamics Observatory (SDO) photographs the sun every 0.75 seconds. In its first decade in space, the SDO has captured more than 425 million images of the sun. NASA has compiled these images into an amazing time lapse, come check it out.
The lens is available for Leica M, Sony FE, Nikon Z and L-mount camera systems, and now holds the title as the world's widest rectilinear lens for full-frame camera systems.
Tamron's new 28-200mm F2.8-5.6 is a versatile zoom lens for Sony E-mount. Well-suited for travel photography, it's compact, lightweight, and fast/quiet to focus.
Fujifilm has announced that its GF 30mm F3.5 R WR wide-angle lens for its medium format cameras will ship in late July or early August.
Fujifilm's latest lens is a sharp, reasonably compact and well-built wide-angle for the company's GFX medium-format cameras. We took it out and about in the warm Seattle summer with the company's 50 and 100 Megapixel camera bodies to see what it can do.
Fujifilm has issued firmware updates to the GFX 100 and GFX 50 models, with the 100MP camera gaining the most significant improvements.
Although the channel is still growing, it currently has nine videos that offer concise overviews of just a few of the cameras Japan Camera Hunter founder Bellamy Hunt has sitting around his Japanese storefront.