🎧 Music in this Video

I use ARTLIST for my music… get an extra two months free!

Opening track: Hyrule by Theevs Music - Last Night

📺 YouTube Optimization

Optimize your YouTube channel with TubeBuddy (we swear by it)

🔗 Affiliate Link Tracking

Using affiliate links is key to making an income from online video reviews. We use Genius Links, which allow options like choice pages and automatic redirection to the viewers local Amazon store. Learn more and sign up here.

🎥 More Gear

Gear from previous shows is always listed on my kit.co page

🚨 My VPN

I've switched to NordVPN and it's better! Get 72% off 2-year plans with this link: https://go.nordvpn.net/SH89g

📸 Three Complete Camera Kits

• GH5 Starter Kit
• GH5 + GH5S Filmmaker's Kit
• G9 Photographer's Kit

📷 Got a GH5?

Check out my complete GH5 Training course

0:00:00.369,0:00:05.190
If you already own or are thinking of buying
a LUMIX S1, an S1 with the V-Log Filmmakers

0:00:05.190,0:00:12.980
Upgrade, an S1R or <gasp> the just announced
LUMIX S1H, you might be concerned that the

0:00:12.980,0:00:20.740
only lenses you have today are the 24-105
f/4, the 50 mm f/1.4 and the 70-200 f/4. Oh… it’s

0:00:20.740,0:00:23.880
just a paper cutout. There’s more lenses
coming from Panasonic, and a bunch coming

0:00:23.880,0:00:28.990
from Sigma, but did you know that you can
adapt hundreds, if not thousands, of existing

0:00:28.990,0:00:33.519
lenses… some that you may already own…
to the L-Mount? I’m PhotoJoseph, and let’s

0:00:33.519,0:00:43.190
talk about it.
Because the S1 is a mirrorless camera, there’s

0:00:43.190,0:00:47.480
very little distance between the sensor and
the lens mount, which means that pretty much

0:00:47.480,0:00:52.410
any full frame or larger lens can be adapted.
For anyone with a camera bag full of full-frame

0:00:52.410,0:00:57.519
lenses, this is great news. Odds are you can
adapt your existing lenses to the S1! For

0:00:57.519,0:01:01.309
example…
Sigma makes the MC-21 to convert Canon EF

0:01:01.309,0:01:05.110
mount lenses to L-Mount, and they also make
an SA mount adapter.

0:01:05.110,0:01:09.930
Novoflex also makes an EF to L-Mount adapter,
but it costs more than the Sigma, and doesn’t

0:01:09.930,0:01:14.861
work as well. It doesn’t even auto focus.
They also make a Nikon F-mount adapter, and

0:01:14.861,0:01:20.000
a PL mount adapter.
Kipon makes a Mamiya 645 and a Cinema PL to

0:01:20.000,0:01:23.420
L-Mount adapter.
You can also adapt Hasselblad, you can adapt

0:01:23.420,0:01:29.020
L-39 mount, Contarex, Contax / Yashica, Exacta,
Canon FD, Minolta, Pentacon… there’s

0:01:29.020,0:01:32.310
a ton of ‘em! There’s a ton of options
for adapting lenses to L-Mount.

0:01:32.310,0:01:36.330
So how do these adapted lenses actually look
and perform? Well first, a HUGE thanks to

0:01:36.330,0:01:41.300
Sigma who sent me a case full of a lovely
buffet of photography and cinema lenses, and

0:01:41.300,0:01:45.250
to my friends at Panasonic who sent some adapters
along with some vintage lenses for me to play

0:01:45.250,0:01:48.580
with. I shot both stills and video with a
variety of lenses just to give you a little

0:01:48.580,0:01:52.050
taste of what these looks like.
Let’s start with still photos. I took a

0:01:52.050,0:01:59.509
few lenses to a modeling event, and shot with
the Nikon 24mm f/2, the Mamiya 80mm f/1.9

0:01:59.509,0:02:05.130
which because it’s a medium format lens
is on a 0.7 X focal reducer making it a 56mm

0:02:05.130,0:02:11.459
f/1.3, and with the Canon 85mm f/1.2. So,
let’s take a look at some photos.

0:02:11.459,0:02:15.629
The Nikon 24mm f/2 was probably the hardest
to focus, with a lot of softness around the

0:02:15.629,0:02:20.950
edges, meant I really had to focus in the
center while relying on focus peaking, then

0:02:20.950,0:02:24.890
recompose to get the shot that I wanted. I
started wide but then went in for some close-ups,

0:02:24.890,0:02:29.970
so you could appreciate the shallow depth
of field of f/2 on this 24mm wide angle lens.

0:02:29.970,0:02:33.659
It produced some interesting haloing and overall
a pretty nice look.

0:02:33.659,0:02:37.599
The medium format Mamiya was definitely my
favorite, because it created such a unique

0:02:37.599,0:02:42.040
look. The bokeh has these great big swirls
in it, and high contrast areas pretty much

0:02:42.040,0:02:46.989
glow, which is obviously not ideal for most
work but so cool in a portrait. It’s probably

0:02:46.989,0:02:51.400
not perfectly sharp anywhere while wide open,
which may limit what you can do with it, but

0:02:51.400,0:02:53.970
I adore it.
Matt, you’re gonna have to come here to

0:02:53.970,0:02:59.439
get this one back, sorry buddy.
The Canon 85mm f/1.2 has always been a gem

0:02:59.439,0:03:03.639
of a lens. Wide open at 1.2 there isn’t
much margin for error on focus, but when you

0:03:03.639,0:03:07.760
nail it, it’s so so sweet. Stopping down
a little of course gives you a bigger field

0:03:07.760,0:03:13.010
of focus while still getting lovely bokeh,
and at 1.2 and at a distance from your subject

0:03:13.010,0:03:17.019
you can still get incredibly narrow depth
of field. This is the first auto focus lens

0:03:17.019,0:03:21.969
of the bunch, so let’s talk about that.
The Nikon and the Mamiya are of course manual

0:03:21.969,0:03:28.720
focus on passive adapters, but the Canon EF
lens on this Sigma MC-21 is autofocus. As

0:03:28.720,0:03:32.739
you would expect, autofocus is slower through
the adapted lenses than on native lenses;

0:03:32.739,0:03:38.980
that’s no surprise. With the MC-21 you can
only do AF-S — single, and not AF-C — continuous

0:03:38.980,0:03:43.840
auto focus. In fact when you flip the camera
to AF-C, it tells you to go to AF-S. Which

0:03:43.840,0:03:47.580
is way better than the Novoflex, which won’t
autofocus at all, and will just tell you to

0:03:47.580,0:03:53.069
switch to manual focus. With both adapters
you can manually focus a drive-by-wire lens

0:03:53.069,0:03:58.450
like this Canon 85mm 1.2, and the manual focus
switch on the lenses functions as well. If

0:03:58.450,0:04:02.480
you use a lens with image stabilization in
it, you don’t get the I.S. from the lens,

0:04:02.480,0:04:06.280
but of course the camera has stabilization
so you still get the in-body I.S., no matter

0:04:06.280,0:04:10.299
what lens you’re using, and aperture and
focal length are also communicated to the

0:04:10.299,0:04:15.260
camera with both adapters. Effectively the
main difference between an MC-21 adapted lens

0:04:15.260,0:04:19.340
and a native lens is that the adapted one
is slower to auto-focus. So you’re not going

0:04:19.340,0:04:23.150
to be shooting action sports with these, but
for portraits, landscapes and the like, they’re

0:04:23.150,0:04:26.111
great.
Hey before we on move to video, I wanted to

0:04:26.111,0:04:30.060
tell you that since I have a ton of videos
here on YouTube, it can be kind of hard to

0:04:30.060,0:04:35.160
sort through them and find exactly what you’re
after. But if go to my website PhotoJoseph.com,

0:04:35.160,0:04:39.720
you’ll see on there that you can easily
filter all of my videos and other tips by

0:04:39.720,0:04:43.669
product, and if you go to the top “Filter
by” menu and choose “hardware”, you

0:04:43.669,0:04:48.949
can type in the name of whatever you’re
looking for, like S1… or Think Tank… or

0:04:48.949,0:04:53.200
Godox… and quickly find all the videos related
to that topic. While you’re there, check

0:04:53.200,0:04:57.379
out the membership page too, and see the benefits
of paid membership, like access to hundreds

0:04:57.379,0:05:01.650
of software training videos, exclusive interviews,
and of course it’s a great way to support

0:05:01.650,0:05:05.190
the free content that I make here on YouTube.
Alright! Now let’s look at the video side

0:05:05.190,0:05:09.910
of things. Sigma was really generous and sent
out quite the buffet table of gear. I shot

0:05:09.910,0:05:14.909
the same setup with most of these lenses so
you could compare the looks of them. Now… um…

0:05:14.909,0:05:19.889
confession time… I kinda screwed up and
I shot all these clips at 4K60p, which I intended

0:05:19.889,0:05:24.110
to do so I could slow some shots down, but
I forgot that that meant on the S1 that I

0:05:24.110,0:05:28.729
was cropping into each lens, shooting at APS-C
instead of full-frame. That doesn’t change

0:05:28.729,0:05:32.970
the bokeh of course, but it does mean we’re
not seeing the full lens edge-to-edge. Sorry.

0:05:32.970,0:05:37.949
But hey! For those who would shoot 4K60, this
is exactly what you’ll get!

0:05:37.949,0:05:42.800
OK! These were all shot in the FLAT color
profile on the S1, and captured to an Atomos

0:05:42.800,0:05:47.831
Ninja Inferno at 4K60p. Incidentally this
video you’re watching now is in 4K30, so

0:05:47.831,0:05:52.750
if your device can handle it, hit the little
gear, wherever it is, and choose 4K. Every

0:05:52.750,0:05:56.590
shot you’re about to see here is shot wide
open on that lens. I don’t have ND filters

0:05:56.590,0:06:00.150
big enough for most of these lenses, so to
shoot wide open I’m shooting at a very high

0:06:00.150,0:06:04.169
shutter speed. There isn’t much movement
in here anyway, but when you see some staccato

0:06:04.169,0:06:10.370
motion, that’s why. I started with the Panasonic
24-105mm f/4 as a reference shot. It’s a

0:06:10.370,0:06:16.960
nice, clean, sharp lens, as you would expect.
This is the Nikon 24mm, and you can definitely

0:06:16.960,0:06:25.110
see some of that glowing creaminess around
the edges.

0:06:25.110,0:06:29.950
Next is the Sigma 18-35mm f/1.8. I requested
this lens specifically because I know it’s

0:06:29.950,0:06:34.610
very popular among GH5 users who like to adapt
this to micro four thirds using a Metabones

0:06:34.610,0:06:36.990
adapter. So I know a lot of you already own
it.

0:06:36.990,0:06:43.289
The Sigma 40mm f/1.4 was a beautiful surprise
for me. Quite a wide field of view, and lovely

0:06:43.289,0:06:44.550
bokeh. Definitely one for my wish list on
B&H.

0:06:44.550,0:06:53.360
Ah, the Mamiya. I just love it. Check out
the bokeh rings in the background! Totally

0:06:53.360,0:06:57.591
different look. It has that soft, almost dreamy
look to it, like an Orton effect where it’s

0:06:57.591,0:07:03.870
simultaneously soft and sharp. I just can’t
get enough of this lens.

0:07:03.870,0:07:09.860
Now for the Canon 85mm f/1.2. Very sharp,
with super shallow depth of field and a very

0:07:09.860,0:07:14.030
smooth, predictable bokeh.
Next let’s switch to the Cinema lenses.

0:07:14.030,0:07:18.729
Sigma sent three of ‘em; two EF mount lenses
and one PL mount lens. For the EF mounts I

0:07:18.729,0:07:25.060
used the same MC-21 adapter, and for the PL,
I used this Kipon PL to L-Mount adapter. Now

0:07:25.060,0:07:29.150
I gotta admit this adapter is not very good.
There’s a little shim screw in here that

0:07:29.150,0:07:32.979
I had to completely remove to get the adapter
to even lock on to the lens, but there’s

0:07:32.979,0:07:37.830
significant play in the lens without the shim.
It still worked perfectly fine, but I’d

0:07:37.830,0:07:42.659
definitely prefer a PL mount that doesn’t
move so much. Novoflex and Leitz both make

0:07:42.659,0:07:46.499
PL to L-Mount adapters that are quite a bit
more expensive, but I didn’t get to test

0:07:46.499,0:07:48.759
those.
If you’ve never worked with these types

0:07:48.759,0:07:53.720
of lenses before, let me give you a brief
tour. First off, they’re huge. Notice that

0:07:53.720,0:07:58.219
not only is each ring geared so you can connect
it to a focus or camera control system, allowing

0:07:58.219,0:08:02.719
you to change focus, aperture or zoom remotely,
but the rings are in the same position and

0:08:02.719,0:08:07.130
the lens barrel is the same size, so you don’t
have to readjust the control system when you

0:08:07.130,0:08:12.020
swap lenses. The aperture on a cinema lens
isn’t measured in f-stops, but in T-stops,

0:08:12.020,0:08:16.210
or “transmission” stops instead. T-stops
are the measure of the actual amount of light

0:08:16.210,0:08:21.530
coming out the back of the lens, not the measurement
of the aperture itself, like an f-stop is.

0:08:21.530,0:08:26.881
This allows perfect consistency between lenses.
Also, these numbers glow in the dark, which

0:08:26.881,0:08:31.300
is just awesome. Why don’t all lenses do
that? The rings are all step-less of course,

0:08:31.300,0:08:36.120
and remarkably smooth to use making it quite
easy to rack focus and stop precisely on your

0:08:36.120,0:08:41.160
mark. And in general, the quality of these
lenses is very very high. There’s more to

0:08:41.160,0:08:44.219
cinema lenses of course but those are some
obvious differences.

0:08:44.219,0:08:50.040
The first one I used is the 20mm T-1.5, giving
a beautifully wide shot with virtually no

0:08:50.040,0:09:05.100
distortion.
Then the 18-35mm T-2 zoom.

0:09:05.100,0:09:10.741
And finally, the 50mm T-1.5, on the PL mount.
These are all gorgeous, clean lenses, with

0:09:10.741,0:09:16.480
no fringing, no halos, beautiful bokeh… really,
just lovely, pristine, clean lenses. As with

0:09:16.480,0:09:20.130
everything, you get what you pay for.
I hope this was interesting for you. Now that

0:09:20.130,0:09:25.089
we know that the V-Log Filmmakers Upgrade
for the S1, and the S1H camera itself are

0:09:25.089,0:09:28.490
coming — or, already out, depending one
when you’re watching this — knowing that

0:09:28.490,0:09:32.070
you can adapt so many excellent lenses — many
that you probably already own — to this

0:09:32.070,0:09:35.500
full frame photography and filmmaking system
is pretty awesome.

0:09:35.500,0:09:38.720
If you want to know more about any of these
products, there’s links below to everything,

0:09:38.720,0:09:42.279
and of course if you like this video, be sure
to give it a thumbs up and hit that share

0:09:42.279,0:09:46.680
button to share it on the socials. And, don’t
forget to check out PhotoJoseph.com. See you next time.