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The Olympus Pen F will go down as one of the best compact Mirrorless cameras of all time. It’s gorgeous retro design, the capable 20-megapixel sensor, and the way it rendered black and white images made it a stand out performer. However, it had one fatal flaw. Water to the Olympus Pen F was like Kryptonite to Superman. The lack of weather sealing was a deal-breaker to many. However, there is a chance that this weakness will be fixed. According to one Olympus manager, the Pen F II is being considered. We and so many others would love that. Here’s what we’d love to see in the Pen F II.

A recent post at 4/3 Rumors highlights an interview with an Olympus manager based in Germany. During the interview, Nils Häussler from Olympus Germany shared a few things the new owner of Olympus, JIP, has in store. First, there will be new Olympus branded cameras in 2021. Second, the company is going to focus heavily on the video market. But the most important part of the interview (for us, at least) was the third statement. Nils Häussler stated that JIP is indeed still thinking about making the Pen F II. As a photographer, if this doesn’t get your shutter racing, it’s time to find a new hobby or profession.

The Pen F Was Like a Love Letter from Your Soul Mate

The original Pen F (which is on sale for just $899) was almost the perfect camera. As soon as you saw it, your heart would flutter. When you held it, you would be transported back to a simpler time. The Olympus Pen F was an experience, and if you’ve never held or used one, you have missed out on one of the greatest photographic experiences you can find. You might think I’m crazy, but I’m telling you, Olympus knows how to create a bond between their cameras and their users. It’s one of the many reasons I love using Olympus cameras.

So many manufacturers ignore this today, and that’s a real shame. The more you bond with your camera, the more you’ll use it. It’s as simple as that. Many cameras today are soulless. The Pen F made you want to get out and shoot. To say we have high hopes for the Pen F II would be an understatement. If JIP wants to make a statement of intent, they can easily make it with the Pen F II.

What We Want To See In the Pen F II

So, what would we want the Pen F II to look like? Honestly, from a design standpoint, we hope that not much changes. The original Olympus Pen F was just about as sexy as a camera can get. The retro design was beautiful. The vintage style dials were wonderful. The dial on the front of the camera that allowed you to quickly change to black and white mode was great. Ergonomically, the Pen F was almost perfect. Still, if we could change one thing, we would ask JIP to include a dedicated ISO dial. Sure, you could customize the original to make one of the dials control ISO, but separate controls for ISO, shutter, and aperture would be ideal.

Or maybe adding in a joystick!

A Few Small Tweaks Will Go A Long Way

It goes without saying that the Pen F II must be weather sealed. The lack of weather sealing on the original was a complete mystery. With weather sealing, Olympus would have sold so many more Pen F cameras. The 20MP Micro Four Thirds sensor used in the E-M1 III and E-M1X would honestly be fine for the Pen F II. It’s more than capable. However, we hope that JIP pair it up with the newer, faster image processor found in the E-M1X. That way, the Pen F II will be able to take advantage of AI tracking algorithms. Also, ditch the UHS-I SD Card standard and include a UHS-II slot at a minimum.

Battery life also needs to be greatly improved over the original Pen F too. You’d have to carry multiple batteries with you if you wanted to shoot all day. The Pen F II with Olympus’s updated 5-axis IBIS would be incredible as well. An updated EVF that exceeds the 2-million dot mark would be welcomed, and so would a hybrid OVF/EVF. Still, please, JI...

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“In this series, as in all my photographs, there is no Photoshop at all: I publish photos directly from the camera,” says photographer Elena Vachugova. She continues to tell us that this project was about cleaning the idea of photography and photoshop being the same thing. The surreal series is fascinating. Done during quarantine this year, it shows that creativity also doesn’t need the most advanced camera gear. In fact, you’ll be amazed that she used a little Nikon point and shoot. Otherwise, it was all about her creative freedom!

Editor’s Note: the following interview has been translated with Google edits and cleaned up a bit.

“Photo processing is another kind of art. I am for photography, separate from Photoshop!!!”

A quote from Elena Vachugova

The Important Photography Gear of Elena Vachugova

Nikon Coolpix A300

Elena says:

For the series “The camera in the washing machine,” I used a simple, compact Nikon Coolpix A300 camera. (I bought this camera in memory of Nikon Coolpix L19, which has worked with me for over 10 years in shooting conditions both in the rain and under the snow!) I believe that the expressiveness of photography and the creative level of photography, largely depends not on the camera but from the photographer themselves! Of course, the camera imposes its own restrictions on the choice of the subject, but there is always a subject that is accessible to the technical capabilities of the camera and is creatively interesting for both the photographer and the viewer! This compact camera allows me to take photos from close enough distance in macro mode and allows me to take pictures in a square format. And the color of my camera is red and moreover small in size.

It was these technical capabilities and the design of the camera that helped me make this series of abstractions. In addition, I used a regular flashlight for illumination so as not to spoil the image with flash.

A quote from Elena Vachugova

Talk to us about how you got into photography.

In my family, my grandfather and dad were photographers. These were 1960-70s and, accordingly, they used “Zenit” analog SLR cameras. In the 1980s, photographing in our family was done by my mother. She photographed with an analog camera called an “Electra”. We used mainly slide film. In the 1990s, it was mostly all about the documenting of family life, mainly long walks with dogs in picturesque places. They were passed to me together with my father’s “Zenith” and mother’s “Electra”.

In 2005 I tried to photograph with a digital camera (it was my friends’ Pentax Optio 555). I was interested in the possibilities of macro photography. And on photo shoots with dogs, photos of reflections, textures of trees, grass began to appear. My first digital compact camera Canon Power Shot A470 with the ability to shoot close-ups from a macro allowed me to try to photograph all that beauty from the macrocosm around us that I had seen before, but there was no technical opportunity to photograph the play of light and shadow, glare, reflections, textures on small surfaces (centimeter, several centimeters in size). In addition to landscapes and shooting dogs, I became interested in photo abstraction. Probably, these are genes: my mom and dad are artists.

“I am categorically against shooting a huge number of frames in a row: according to the principle of “quantity turns into quality”, you can randomly get a good shot.”

A quote from Elena Vachugova

What made you choose a washing machine? Why not a pasta strainer or mesh fence or anything? It’s such a cool idea!

The drum of the washing machine attracted me for a long time with its texture, curved surfaces, and mirroring. Only there was no time to experiment with the camera. Thanks to the spring self-isolation in the Moscow region (due to the coronavirus), I have free time. In addition, shooting dogs and landscapes...

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Photographers need lens filters. A lot of folks like to embrace the do-it-in-post mentality. But we’re not about that. We think you should have an idea in mind to begin with, and stick to it. There’s nothing wrong with a bit of editing, but you shouldn’t let it fully take over. You should strive to get it right in-camera, to begin with. And these lens filters can help you do just that.

How We Chose These Lens Filters

The Phoblographer only ever recommends products that we do full reviews of. If we know nothing about a product, then we don’t talk about it. But we’ve been around for over 11 years, and we’ve used a lot of products. We looked at some of the most requested features of photographers. Landscape photographers want more dynamic range. To that end, they need an ND filter. Portrait photographers want the look of prisms and flare. So we found lens filters for those. Astrophotographers and cityscape shooters want to get rid of any light pollution. Guess what? We’ve reviewed a lens filter that does just that. In fact, we’ve reviewed a few in each of these categories. And I hope our recommendations help you.

Lensbaby OMNI Creative Filter System

In our review, we state:

“As a photographer who occasionally likes to introduce distortions and other lighting effects into my photos for added visual impact, the Lensbaby OMNI Creative Filter System allows it with ease, and without having to juggle between different crystals and prisms in one hand while holding a camera in the other.”

Pro Tip: These filters are really something special. They work similarly to prisms on the front of your lens. But you’ve got a lot of directional control. Shoot into light sources with these for the coolest effects. They’re best for portrait photographers. What’s more, they’re incredibly affordable. And there are expansion packs.

Buy Now: Around $79.96

IRIX Light Pollution Filter

In our review, we state:

“The Irix Edge Light Pollution Filter works flawlessly. It does everything it sets out to do, and to my eyes there is no image quality issues whatsoever. Every image I took with the filter was just as clean, clear, and as as sharp as the images I took without the filter.”

Pro Tip: The Light pollution filter might change the color of the scene naturally. But you have to expect that. These are fantastic for astrophotography and people who live in cities. When you use these, always bring a lens cloth with you. It will prevent smudges and bloom on your lens.

Buy Now: Around $109.99

Haida Red-Diamond 10 Stop ND 100×100 Filter

In our review, we state:

“Luckily, my experiences with the Haida Red-Diamond 10 Stop ND 100x100mm Filter has been positive. Long exposures produced when shot through this filter were consistently color accurate with no discernible loss of sharpness or clarity. Below are two images of the same scene: one shot sans filter, and the other a long exposure shot using with the Haida Red-Diamond 10 Stop ND 100x100mm Filter.”

Pro Tip: The best thing to do sometimes is to manually set your white balance when using lens filters like this. In many cases, the white balance and colors will be thrown off. Use this filter with your camera on a tripod—no need to stop your lens down a whole lot either. Right around f5.6 or f8 should be good enough for you!

Buy Now: Around $152

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Many of you probably don’t know about one of Tamron’s coolest lenses. But the new Tamron 17-70mm F2.8 Di III-A reminds me so much of it. I’m talking about the ancient Tamron 28-105mm f2.8 lens. It’s long been discontinued, but it proved very good for APS-C photographers many years ago. And the Tamron 17-70mm F2.8 Di III-A is continuing that tradition. The only difference now is that they’re specifically catering to APS-C with focal lengths that fit the cause. When it launches for $799, it’s probably going to be one of the most essential, weather-sealed lenses for the Sony APS-C system.

This lens is seriously the kind of thing that excites me. And I understand why you’d also feel the same way. You see, everyone is making good lenses. You have to really try to make an awful lens these days. But not many brands are making something completely different. Sony was for a while with their G Master lenses sporting 11 aperture blades. Canon and Sigma have autofocusing f1.2 lenses. Fujifilm has autofocusing f1 lenses. And Tamron has this new Tamron 17-70mm F2.8 Di III-A. It’s true innovation at an incredibly affordable price. If I were a Sony a6600 owner, I’d buy one soon.

Mind you, I’m saying this without ever having handled the lens. But we’ve tested a ton of Tamron lenses. In fact, I’d wager that we’ve reviewed the most. Tamron’s quality is usually pretty solid. And their weather sealing is astounding. We’ve done things with their lenses that have made our readers cringe. I mean, how often do you find affordable lenses with their level of weather sealing?

My eventual hope is that Tamron works with Fujifilm and brings it there. That’s the system that I think desperately needs a lens like this. Fujifilm has its great 16-80mm f4. But it’s an f4. A stop more light is well worth it. Of course, the Tamron 17-70mm F2.8 Di III-A is also not a small lens from its looks. That’s where Fuji has the advantage. But if you use this lens with a camera and a vertical grip, it will probably be a lot more balanced. With the Tamron 17-70mm F2.8 Di III-A weighing 18.5 oz, it’s heavier than a can of soup.

I wonder why Tamron hasn’t made any fast aperture prime lenses for the Sony FE camera lineup. They’ve got a nice set of f2.8 primes with weather sealing. They’re all small. And they’re focusing quickly. I think the next thing we need is more variety. What about a 40mm f1.8 Di VC USD? Or appeal to Pentax fans and make a 43mm? Pentax, after all, has used many of Tamron’s lenses in their own lineup. I would also personally enjoy seeing a variation of the Sigma 24-35mm f2 made by Tamron for the E mount. I’m sure they could figure out a way to make it smaller and lightweight. And if not at f2, maybe strive for f2.5 zoom lenses.

Overall, I think it’s just imperative to add more variety to the market. And the Tamron 17-70mm F2.8 Di III-A is surely doing that for us. Better yet, it’s doing it at a very affordable and sustainable price. Still, though, I dream of seeing a higher end Tamron lens lineup. I think they’ve come a long way and improved their product quality quite a lot.

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We’ve updated our Panasonic S1 review recently. We’ve found the camera to greatly improve overall. If you own the Panasonic S1, you’ll get more for your money. If you don’t own the Panasonic S1, there’s still no major reason for you to buy one. In fact, I’d tell you to instead reach for the Panasonic S5. In our tests, the Panasonic S5 still performed better than the Panasonic S1 when autofocusing. Those are some of the biggest changes that came to the S1 with the recent firmware update. So we’re going to dive into it.

The big thing with this firmware update is how animal and human detection is set up. In the 1-area+ and 1-area focus mode, you can set it to human, straight, or human/animal autofocus settings. This will be applied to not only Panasonic lenses but those from Leica too. We didn’t test this with Sigma lenses, but we’re sure they would work there too. Something that’s annoying with the Panasonic system is that you get Burst with Live View. And I couldn’t figure out how to turn that off and have the screen just be the normal layout that I set it to.

Further, I set the AF custom settings to work for street photography. The menu carefully describes these for you. When using the S1, I yearned for the S5’s ability to hide the display.

Nonetheless, the simple autofocus integration is wonderful. It makes accessing and changing the settings so much quicker. It’s about on par with Canon and light-years faster than Sony’s menu.

Overall, the Panasonic S1 performed well with the Leica 35mm f2 Summicron S. We used it for street photography in good lighting. Once we stepped into Grand Central and other low lit situations, it really suffered. To ensure I wasn’t going crazy, I went out for a walk around my neighborhood with the camera again. This time I used the Panasonic 24-70mm f2.8 Lumix Pro. Unfortunately, the duo disappointed me. Overall, the Panasonic S5 is so much better in low light. And I’m still scratching my head for a reason to get the S1 over the S5 and the S1R.

When photographing dogs, we surely got keeper shots. But those shots felt more on par with what I’d get with DSLRs. They didn’t feel as tack sharp and spot-on as the latest Sony and Canon mirrorless cameras. They even felt just a bit behind Fujifilm and what they’re doing.

In our testing, we used the various modes combine with AF-C and medium burst mode.

We shot a bunch of photos of this beautiful pup above. But not many images had her eyes in focus. Instead, her nose would be.

In this burst with the Labradoodle, we got more keeper shots. But this isn’t tough to do at all. All of these were shot with the Leica 35mm f2. In low light is where issues happen. The sequences below show that off.

We switched to the Panasonic 24-70mm f2.8 and found that the performance got better. Still not a whole lot better overall, though.

Would I use this camera for street photography? I guess so. Even with that said, I think that I could use it for journalism. But I’d personally be disappointed knowing that I’d get higher keeper rates with another camera system. Combine that with the Panasonic S1’s heavy weight, and I’d be even more disappointed.

The next version of the Panasonic S1 really needs to hit it out of the park. It can’t be a slight update the way that Nikon did with the z6 series. For more, you can go check out our Panasonic S1 Review right here. Still though, I’m not sure I can recommend it.

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As portrait photographers, we demand a lot from the lenses we use today. They have to be sharp, reliable, and produce great bokeh and beautiful natural skin tones. Another quality they need to have is great build quality. Like many other things in life, not all 85mm primes are created equal when it comes to their builds, though. With clients demanding more and more outrageous shoots so that their images stand out from the rest, having a robust lens is a must. Fortunately, some fantastic 85mm primes on the market aren’t only built tough, they’re weather sealed too. After the break, we’ll share five 85mm primes that offer everything the modern portrait photographer could ever need in a lens.

Nikon Z 85mm f1.8

In our review, we said:

“There isn’t a single bad thing to be said about the Nikon Z 85mm f1.8. It has exceptional image quality, build quality, it’s priced right, and it’s portable. This is everything that mirrorless is supposed to be.”

Chris Gampat – Editor In Chief

Buy now: $796.95

Canon RF 85mm f1.2 L USM

In our review, we said:

“The Canon RF 85mm f1.2 L USM produces truly beautiful bokeh, excellent sharpness, plenty of micro-contrast, and overall exceptional image quality. Its performance is quite snappy as well, and it’s capable of focusing and tracking fast-moving subjects quickly and accurately. True to Canon’s heritage, this lens is built like a tank and features some of the best weather sealing we’ve seen.”

Paul Ip – Former Reviews Editor

Buy now: $2,699

Sigma 85mm f1.4 DG DN Art

In our review, we said:

“The Sigma 85mm f1.4 DG DN Art offers tremendous value for just $1,199. It retains the excellent image quality of its predecessor while addressing many of its shortcomings: It’s smaller, lighter, and features markedly improved autofocus performance. In fact, this lens performs on par with the highly-rated Sony 85mm G Master.”

Paul Ip – Former Reviews Editor

Buy now Sony E: $1,199

These 85mm primes will certainly help you create fantastic images, but having great gear is only half the story. If you truly want to create a gorgeous portrait, you need to know the secrets of posing. Try this: have your subject relax, and ask them to just be themselves. Give them a basic pose to build upon. If you control every aspect of their pose, you’ll end up with an unnatural looking image. Communicate your idea, and have your subject play around with it. You’ll find that you’ll get much more natural, organic captures this way.

Samyang 85mm f1.4

In our review, we said:

“Sometimes what I like about Samyang and Rokinon lenses are their character. When I tested the 50mm f1.4 for Sony, I adored the way images looked. And the Samyang 85mm f1.4 RF is no exception.”

Chris Gampat – Editor In Chief

Buy now Canon EF: $579

Purchase now Canon RF: $699

Buy now Nikon F: $569

Buy now Sony E: $569

Zeiss 85mm f2.4 Loxia

In our review, we said:

“Look at this! It’s much different from what you’d see and expect from almost everything else in the digital world that clean and clinical. While still being sharp and contrasty, the Zeiss 85mm f2.4 Loxia lens enjoys fantastic image quality with wonderful focus falloff, great bokeh, sharpness, etc. Plus it’s got great color. You can’t really beat it if you’re going for a different look with an 85mm equivalent lens.”

Chris Gampat – Editor In Chief

Buy now: $1,399

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After somewhat of a break from testing camera lenses, DXOMark has returned with a bombshell. The Canon 85mm f1.4 L IS USM, an EF mount lens for DSLRs, is a certified banger! In fact, it’s so good, it beats the stellar Sony 85mm f1.4 GM in every category. Also, for Canon RF mount users, the new 85mm f2 IS STM did very well during DXOMark’s tests. If you’re a portrait photographer who shoots Canon, head past the break for all the juicy details.

The new reviews from DXOMark bode very well for portrait photographers who use both Canon DSLRs and Mirrorless cameras. Now, along with the stellar Canon 85mm RF f1.2 L and the older EF mount equivalent, you have another brilliant and much cheaper 85mm L series lens to choose from in the Canon 85mm f1.4 L IS USM. For portrait photographers on a budget, the new Canon RF 85mm f2 is also an appealing option.

The Canon 85mm F1.4 L IS USM Is a Stunner

We have reviewed both of these lenses out in the real world. Real-world tests are always better than those conducted in lab settings, but we have to agree with DXOMark on all counts regarding both lenses. The Canon 85mm f1.4 L blew us away with its overall sharpness, great color rendition, chromatic aberration control, and the bokeh it produces. This lens also works well when adapted to Canon’s new EOS R series cameras. We noticed no issues with focusing, and it works like a charm with eye AF. In terms of how it scored in DXOMark’s tests, here’s the breakdown:

Sharpness: 42

Transmission: 1.6

Distortion: 0.1%

Vignetting: -1.8 ev

Chr. Aberattion: 4

The Canon 85mm f1.4 L IS USM was tested on a Canon EOS 5DS R, Canon’s highest megapixel DSLR (50.6MP). The scores give the Canon 85mm f1.4 L an incredible overall rating of 49. This puts the lens against the very best 85mm lenses ever tested by DXOMark. Still, it’s bested by the Sigma 85mm F1.4 DG HSM (test camera Nikon D850) and the Carl Zeiss Milvus 1.4/85 ZF.2 (Nikon D850). These lenses scored 53 and 50, respectively. At $1,599, the Canon 85mm f1.4 L is a compelling Canon DSLR and Mirrorless option.

The Canon RF 85mm f2 Is No Slouch Either

Canon’s newest 85mm lens for their Mirrorless platform has also been tested and reviewed by DXOMark. The Canon 85mm f1.8 for DSLRs is a classic. Sure, it has its issues, but it was still a fantastic lens. Still, Canon has aimed to make the new RF 85mm f2 a worthy successor. In our review, our new Reviews Editor, Hillary Grigonis, said:

“While the f2, of course, won’t get the same backgrounds as Canon’s f1.2 lens for the RF mount, considering the lens’s price, the blur is fantastic. Even stepping the lens down for a sharper subject, the focal length and Full-Frame mount mix for excellent soft backgrounds.”

Hillary Grigonis – Reviews Editor

During our real-world test, we were also impressed with the autofocus performance, sharpness, color rendition, and how well the lens handled thanks to the image stabilization. Here’s how the lens scored in DXOMark’s tests:

Sharpness: 26

Transmission: 2.2

Distortion: 0.3%

Vignetting: -1.4 ev

Chr. Aberattion: 2

DXOMark tested the Canon RF 85mm f2 IS STM on the 30.3MP Canon EOS R. Overall, the lens scored 39. However, DXOMark did state that they believe the lens would have scored much higher on the EOS R5. The results from DXOMark matched up pretty well with what we found. Overall, it’s a great lens for the price ($699), and it’s certainly a great option for those who simply cannot reach for the faster 85mm primes on the platform. What do you think about these findings from DXOMark? Let us know in the comment section below.

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24mm primes just don’t seem to get as much love as other focal lengths. This, my friends, is a real shame as the 24mm focal length is incredibly versatile. The 24mm focal length is perfect for landscapes, cityscapes, food photography, street, documentary photography, and even environmental portraits. If you’re in the market for a versatile, weather sealed lens, check out four of our favorite 24mm primes after the break.

Sony 24mm F1.4 G Master

In our review, we said:

“We tested our review unit in a particularly frigid New York City winter, subjecting the lens to freezing temperatures as well as a combination of rain and snowfall. The weather sealing on the Sony 24mm f1.4 G Master held up without incident, and the fluorine coating on the lens’ front element made it very easy to clean up any raindrops or snowflakes that made contact with the front element, with no streaking left behind.”

Paul Ip – Former Reviews Editor

Buy now: $1,398

Nikon 24mm F1.8 Z

In our review, we said:

“The Nikon 24mm f1.8 Z was used extensively in the rain. In fact, we kept it out for a few hours and it kept working. I was very thoroughly impressed previously with how good the build quality of Nikon’s lenses are, but this blew me away. Photographers who need to shoot in less than ideal conditions will feel relieved that this lens will keep working.”

Chris Gampat – Editor In Chief

Buy now: $896.95

Pro Tip: These 24mm primes love being outdoors, and they love the rain and snow. If you want to learn how to get the most out of your new lens, these guides will help you create gorgeous images no matter what the weather is doing.

Tamron 24mm F2.8 Di III OSD M1:2

In our review, we said:

“Despite the plasticky feel, the Tamron 24mm f2.8 Di III OSD M1:2 is robustly built. The weather-sealing on this lens performed as advertised. Neither torrential downpours nor freezing temperatures had negative effects on the Tamron 24mm f2.8’s performance.”

Paul Ip – Former Reviews Editor

Buy now: $249

Fujifilm 16mm F2.8 R WR (24mm Equivalent)

In our review, we said:

“Fujifilm’s cameras and lenses, when stated to be weather resistant via the WR designation, are often pretty great. During our usage of the Fujifilm 16mm f2.8 R WR lens, it never failed.”

Chris Gampat – Editor In Chief

Buy now: $399

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We’ve updated our Panasonic S5 review after firmware 2.0. Photographers who bought the camera are going to be happy. And better yet, they’ve also got some solid bragging rights. In the age of the pandemic, it’s not only a fantastic webcam, it’s also the only full frame camera with Live Composite. But this big firmware update primarily focuses on autofocus. And for photographers, you’ve got more L Monochrome modes. Those are fun, and help make using Panasonic even better. You should check out our Panasonic S5 review, but also go into our tests here.

For this review, we did a few extra things. We used it with both Leica and Panasonic lenses. Panasonic has said that other lenses might not focus as quick on their cameras because of the motor system. Considering how upfront our reps are, it’s understandable. Eleven years in the industry has made me very skeptical of reps at times, but this seems legitimate. The L mount shares autofocus algorithm and mount data, but wow do they need more uniformity.

With the Leica 35mm f2 Summicron S, the Panasonic S5 wasn’t as speedy, but it’s still plenty fast enough to reliably be used for street photography in good lighting. For the best results, take off the exposure preview setting. This is otherwise known as the Constant Preview setting. You’ll give the sensor and system the most light to work with this way. Of course, you’ll have to read the light meter and actually know how to shoot, but considering how much time everyone has on their hands in 2020, I think that’s a small ask.

Further, with the Leica 35mm f2 Summicron S, I was shooting wide open. If I had stopped the lens down, I’d surely nail the focus each and every time. Part of this is because of the new autofocus additions. 1-area+ and 1-area focusing got an update. You can use them straight, with human detection, and with human/animal detection. As you walk around, shoot with continuous autofocus and in medium speed shooting. You’ll get the shots! Not all of them will be perfectly in focus, but the Panasonic S5 has totally improved.

The test above was with the 24-70mm f2.8. It’s not a tough test by any means, but the Panasonic S5 was able to keep up with the biker. I remember a time when it would struggle. But the new autofocus combined with the autofocus custom setting for photo modes can get it done. The one we used the most often is the runner setting.

In the test below, I tried to see if the camera and lens could keep up with Kevin. First off, it can’t detect a face if the person is wearing a mask. And with the Leica 35mm, the performance isn’t as stellar as it is with Panasonic lenses. Check them out below!

As Kevin walked towards the camera, I walked backward. I used to do this a whole lot when I was a paparazzi and still starting out over a decade ago. But the camera and lens did a pretty decent job keeping him in focus.

As we kept walking, we found a kind lady that let us photograph her dog. It detected the face, but more of the snout than anything. The cool thing here is Panasonic’s quicker changing abilities. With Canon, you can do it with two taps on the screen. Panasonic lets it do both human and animal detection in the same setting. It works very well if the animal is still. But once they start jumping around, the autofocus won’t really know what to do. At least, this is the case with the Leica lens. It was mostly the case with Panasonic’s own too. However, Panasonic still does a bit better.

We invite you to check out our full Panasonic S5 review with updates. You can pick one up for $2,299 on Amazon. Indeed, firmware 2.0 is very solid.

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That new lens smell! It’s hard to beat! You, our readers, made the most of the fantastic November sales and purchased many popular lenses. Our readers who shoot with Sony and Fujifilm cameras have been snapping up affordable lenses that reviewed incredibly well. These popular lenses are sharp, fast to focus, offer weather sealing, and render gorgeous colors and bokeh. After the break, we will share the five most popular lenses with our readers during November 2020.

Popular Lenses – Sony 85mm f1.8 FE

In our review, we said:

“This is, in many ways, the absolute most perfect portrait lens for most Sony camera users. If you don’t need or can afford the 85mm f1.4 G Master lens, then the Sony 85mm f1.8 FE lens is a fantastic option. It’s sharp, has less saturated colors (only the Loxia is less saturated than this), focuses pretty well with most cameras (the Batis is fastest), and has weather resistance. But it’s also small and offered at a pretty affordable price point.”

Chris Gampat – Editor In Chief

Buy now: $548

Tamron 28-75mm f2.8 Di III RXD

In our review, we said:

“One of the things that make the Tamron 28-75mm f2.8 Di III RXD so appealing is just how good the image quality is. Not only is the lens capable of delivering sharp images, but the colors are very vibrant, and the bokeh is smooth and beautiful.

Chris Gampat – Editor In Chief

Buy now: $799

Pro Tip: These popular lenses are fantastic. Still, if you don’t know how to get the most out of them, they’ll be lost on you. So, if you’re new to photography and you need help in getting the most from your gear, have no fear. If you want to learn how to get the most out of your new lens, some guides will help you create gorgeous images in no time at all.

Popular Lenses – Sigma 56mm f1.4 DC DN Contemporary

In our review, we said:

“The Sigma 56mm f1.4 DC DN Contemporary produces some of the best images we’ve seen to date of any lens designed specifically for Crop Sensory Sony E Mount cameras. In-focus areas are tack sharp while out of focus areas pack plenty of bokeh.”

Paul Ip – Former Reviews Editor

Buy now Canon EF-M: $395

Purchase now M4/3: $398

Buy now Sony E: $385

Fujifilm 16mm f1.4 R WR

In our review, we said:

“The Fujifilm 16mm f1.4 is quite an excellent lens when it comes to image quality. It’s sharp, offers great color no matter what the color profile, and has very little that would make you hate it when it comes to image quality.”

Chris Gampat – Editor In Chief

Buy now: $999

Popular Lenses – Tamron 70-180mm f2.8

In our review, we said:

“By and large, the Tamron 70-180mm f2.8 did a great job mitigating chromatic aberrations. Flaring and purple fringing only become minor issues when photographing backlit subjects or under extremely high contrast scenarios. Unless you’re shooting directly into the sun or a strong backlight, you’re not going to have to worry about the flare. When it does appear, it almost lends the lens a vintage quality that can be used creatively.”

Paul Ip – Former Reviews Editor

Buy now: $1,199