Lumix DMC-GH2, Lumix G 14mm 1:2.5 Asph. II

People and Places: Looking at the 3:2 image aspect ratio on a Lumix DMC-GH2 and Lumix G 14mm 1:2.5 Asph.

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Still on the People and Places theme here, continued from my previous post, with images shot in the 3:2 image aspect ratio with the 2x crop-sensor Micro 4/3 Panasonic Lumix DMC-GH2 mounted with an autofocus Lumix G 14mm 1:2.5 Asph. lens. The DMC-GH2, as mentioned earlier, features an oversized sensor, at 18.3mm x 13.8mm, that is larger than the standard Micro Four Thirds sensor size of 17.3mm x 13.0mm. This allows the camera to capture images in various aspect ratios while maintaining the same diagonal angle of view. This helps maintain image quality with a lesser loss of detail.

The lightweight and compact Lumix G 14mm 1:2.5 Asph., 6 elements in 5 groups designed with a metal mount and a non-rotating front element, has a length of approximately 20.5mm and a weight of around 55grams, was officially recognized as the world's lightest interchangeable prime lens when it was launched. The lens is equivalent to a 28mm lens on a full-frame camera, has a fast, quiet autofocus motor, operates on the 'focus by wire' principle, and takes 46mm filters. The lens has its share of good reviews, especially for its sharpness and compact size, while criticism includes occasional vignetting and some chromatic aberration. The lens was updated to the Panasonic Lumix G 14mm F2.5 II in 2014, with the same size, weight, and optical construction as the original.

Lumix DMC-GH2, Lumix G 14mm 1:2.5 Asph.

While the 3:2 image aspect does make for very versatile compositions, well-suited for a variety of subjects, including landscapes, portraits, and for documentary photography or creative storytelling, and is still the standard format on many digital SLR cameras these days, shooting in black and white with an equivalent 28mm prime reminisces me to the days of how it was like and what it takes for the photographer when the first 28mm lens, for capturing wide street photography scenes, was introduced alongside the Nikon F in 1959. The immersive nature of the 28mm field of view gives you the challenge of having a dynamic, real-world image that makes viewers feel like they’re in the scene.

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