This time, thanks to the PL-MFT adapter arriving, I can compare the Hope 50 to the Vespid using the same camera and format.
I processed the first file (Hope at T2), then applied the same grade to all files. One file, the Vespid at T4 was over exposed, either user error or a change in the light, which was happening, but let’s assume it was me, so that was normalised.
I moved the tripod to give the two lenses a similar composition, but I was far from precise.
The Hope at T2, Nice Bokeh, sharp and warm-neutral, balanced to my eye and the assumed white balance of the space.
The Vespid at T2. Slight visible CA and a cooler tint, maybe more neutral. The Vespid file looks a little more open and the Bokeh more complicated with soup bubble hints, while the Hope is more controlled and flat, but that is subjective. I tend to find cooler images look sharper to my eye.
It occurs to me that the Vespid files, even after I processed the Hope first, look very true to the GH5s look, which tends to favour cool-magenta, so I processed away from that, then the Vespid bought it back. In my last test I did the opposite with the even warmer 25mm and did it no favours.
On closer inspection sharpness seems to be a wash, the Hope benefitting from basically no CA, the Vespid exhibiting obvious signs of it possibly softening a sharper base image. Again Bokeh is “safe” on the Hope, interesting and delicate on the Vespid.
The Hope is maybe cleaner overall, more commercially useful.
I feel the Hope has a very un-opinionated rendering (perfect for some). It is safe, takes no chances, gives you what you expect to see, but just from these tests I have felt getting some extra vibrance in the grade is the trick to them.
The Vespid lives closer to the edge, gives you that extra vibrance, pushes for more delicate and finer separation, more fragile Bokeh, more “pop” as they say, but can come unstuck sometimes.
The Hope at T4. I have found with these, all that changes is the depth of field. very reliable.
The Vespid at T4. Much better behaviour now, no CA, cleaner looking, still some “pop”. The Vespid file is maybe more 3D looking, but it is a shorter focal length?
Looking closer again, it is pretty obvious that either lens in their happy place can max out 4-6k resolution, but I know that because either can take great stills at 20+ mp.
The Vespid slightly sharper? Maybe because of more micro contrast or the cooler tones (the Hope lacks some separation above due to a warmer lean).
Again the Hope is the safe bet, the honest workhorse, the Vespid is the wild child, more delicate, more….. something I find it hard to define, just maybe more.
So, in the quest to justify the Vespid and maybe get another, I may have as offer clearly different character, which is enough and one can fit into both kits.
The two Hope lenses I have are mated well, giving me a sound base line for MFT, but do they match a full frame lens on an S5?
I feel confident with my Spectrum glass, the 35mm feeling closest to these in colour and rendering, maybe the Sigma zoom or 50mm S-prime as well.
The Spectrum 50mm on the other hand gives me Vespid vibes, so to match that lens, maybe the Vespid on MFT and the Spectrum on a full frame?
If I get the second lens, the 25 on MFT and the 40 on full frame or APS-c would make a matched pair, but a third lens?
If I leave it a while and can justify it, maybe a pair of Mk2’s as a set, the 40mm as my indulgence for now.
Considering cameras, the other half of the equation, the S5 can only give me full frame in B-Raw at 5.9k 25fps, so to use the 40mm as purchased, I generate massive files and only have one frame rate option. The 25mm would match that in APS-c, allowing me to use 4k 25 and 50 fps.
The GH5s seems to like the rendering of the Vespids, the colours seeming to come from the same place, neutral-cool to slightly magenta. The Spectrum 50 and S-prime 35 do this also, but do not fit MFT. The GH5s has more B-Raw 4k options without a crop, so a 25mm Vespid would also work on that (maybe I should have just bought that in the first place?)
The G9II, is the third cam that can shoot B-Raw, but I rarely do, using it more as a versatile hybrid and keep it light weight.
The S5II is the warmest rendering of my cams, so the Vespids would balance out well, but only in V-Log.
If I were to try to categorise my lenses, the Spectrum 50, Vespid, my anamorphics and 35 and 85 S-primes and IRIX render cooler and crunchier files.
The Spectrum 35, S-prime 50, the Hopes and Vision 12mm are warmer and simpler in rendering.
When I bought the 40mm on sale, it seemed destined. I was in Japan, the add came up as a spot deal, I jumped and it was mine, no more available. I saved enough to cover the Nisi adapter (also on sale), then grabbed the MFT one (also on sale-it just gets better).
The second adapter muddied the waters a little, but to be honest, having a PL-MFT adapter opens up a world of potential wonder for the future.
The lens was bought to scratch the comparison itch we all suffer from sometimes and it did that, while giving me the classic 40mm in full frame, but can I just sit on that now? I think I can be happy that both formats are well served with options of all types and the Vespid can be a “one lens” option, at least for a while (maybe until Black Friday?).