With the arrival of the 25mm Vespid, my multi format kit has been fully realised.
With four formats available, 2x MFT, 1.8x MFT, 1.5x APS-c and 1x full frame and two multi format (PL mount) lenses, I have effectively 8 focal lengths.
Three cameras can feed RAW out to two BMVA 12G’s, giving me multiple levels of RAW capture and provide the formats above.
It’s an odd kit, more cameras than lenses, but achieves the same results as a couple of cams and more lenses, has more depth, maximises the glass I own, while keeping the consistency of rendering intact.
True wide.
25mm (full frame). Ideal for establishing and close-wide shots. Interesting angles and creative thinking. This is the lens at full stress, but also maximum character.
Standard-wide “invisible” lenses
37mm (APS-c). My 40mm for an APS-c format camera allowing me to use 4k RAW output formats on the S5II (full frame is 6k only). Cropping in on any lens, using the “sweet-spot”, always cleans up softer corners and mild distortions.
40mm (full frame) The most natural of lenses, the core “invisible” frame shape.
45mm (1.8x MFT) A third natural lens length bringing a MFT camera into the equation. This allows me to mirror the S5 with a normal focal length.
Natural looking portrait lengths.
50mm (2x MFT) A slightly tighter lens than the neutral 37-45 range below, the subtle tightening of the frame is welcome for close-ups and the 25 on MFT has excellent close focus and this is the most “corrected” form the lens can take using it’s sweet spot.
60mm (APS-c) The flip side of the 40mm on the S5, this is the perfect normal-long to compliment that lens.
72mm (1.8x MFT) The start of a tight frame look and a well behaved lens with this crop. This partners with either a 25 or 37mm on the S5.
Lenses with compression effect.
80mm (2x MFT) The longest option available before cropping, this is the tight head shot, small detail focal length. Like the 25mm on this format, the strongest close focus effect is gained and the camera (G9II) has the most effective stabilising, allowing for a strong movement camera.
If the L-mount IRIX is added to the kit.
150mm (full frame) A lens that transcends the ones above for tight framing and reach. The more technically correct nature of the lens leans into this type of image.
225mm (APS-c) A decent reach telephoto, the IRIX now goes into true compression and super shallow depth rendering.
Macro (either) adds a whole raft of close focus and strong transitions to the game.
Other lenses in the mix, lenses that have proven themselves as solid performers, just not as interesting as the Vespids are the Vision 12, Hope 25 and 50, the Panasonic S-prime 35, 50 and 85 and the Pana-Leica 9mm for G9II movements. The Panasonic’s in particular have a little of the same juice, so intermix well enough when AF or a lighter kit is needed.