Joel the Wilcox wrote:
> Seems like a fun camera. The inability to keep it from resetting to default
> settings would be a major pain to me, but I'm sure one could get used to it.
> That could be how most people use their DSLRs for all I know. Excellent
> photo. Makes me want one.
Fortunately, the L1 has sufficient numbers of user-memories. I've been
using the last one as my "working configuration". I'll recall one of
my saved memories, make adjustments accordingly, save it as user
memory #3 and then select that one as my active configuration. Not
that difficult, but it is an extra set of steps that I'd prefer not
needing to take.
Much of the camera is identical to the E-330, but yet so different.
Based on the test shots I took with your E-330, I think it has better
contrast, color, etc., but the L1 is sharper. Published tests have
proven that out too. I do not like Panasonic's choices in color and
contrast curves, but that's only when compared to the Olympus. On its
own, the images are terrific.
The major sell-point of the L1 remains the control layout. I'm so
liking it that it will remain a heavy influence on future camera
purchases. When you have direct and dedicated controls for things, you
tend to use them. When you have to press, spin, spin backwards because
you went the wrong direction, keep an eye on the digital readouts to
make sure you are going the right direction, and figuring out what
exactly 1/237 and F4.89 have to do with anything, you're more likely
to just put it in "P" mode and just correct things in post.
Thanks for the complement on the pictures. It isn't me, it's the
E-1... Gotta love that old Zuiko 100 F2.8 lens. That's at F16 and
about four foot distance.
In short, the L1 is a quirky camera with certain traits that will just
drive you batty, but on the flip side, the camera instills a
confidence when you are rolling your own exposures.
On a side note, the Leica lens is breathing new life into the E-1.
It's definitely a little awkward feeling with the controls not in the
same position as on the 14-54, but the lens gives what appears to be
about a full stop of contrast expansion. I'm not boosting contrast in
post nearly as much as I was before. This is keeping the gradients in
check and everything just looks a bit nicer. The shadows are cleaner.
A side-note on the L1. When you mount a black-nosed 50/1.4 on that
camera it really does have the appearance of a Leica M.
A second side-note... The PanaLeica 25/1.4 lens is simply from another
planet. First of all, when comparing images side-by-side with the
14-50 there is no easily discernible difference in the images. Both
are outstanding and essentially a perfect match. The 25mm lens has the
uncanny trait of being perfectly sharp wide-open. At almost any
aperture, the sharpness exceeds the resolving abilities of either of
my cameras. Diffraction limiting kicks in at some point, but unless
you are making A2 or larger prints, I doubt you'd see it be a problem.
I have no intention of buying one myself, but that 25/1.4 is about as
good as it gets. (Personally, I prefer the Zuiko 50/1.4 on an OM
body).
I'm being vary careful about recommending the Panasonic L1. I'm
reporting my findings, but trying not to tell people to buy one or not
to buy one. All I can do is report that which is important to me. I
don't think I'll have a long-term relationship with the L1, for
professional reasons, but it is in the formfactor that I value and
will use this as a guide in future camera purchases.
When you look at the zillions of FourThirds cameras that have been on
the market--at this point I think there are only three that are
standouts and examples of timeless design: The E-1, E-3 and L1. You
may or may not want to include the E-330 in there, but all others are
just members of the "model of the year" club.
AG
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