Prioritising Weight Over Speed: Panasonic scores again with the Lumix 28-200mm zoom

Keith extends his focal-length range with a compact cracker from Panasonic

Fed up with lugging around a camera-lens combo weighing as much as a small bag of cement? You are not alone. The good news is that one enlightened lens manufacturer feels your pain. Building on the success of their โ€˜small-is-beautifulโ€™ 20-60mm zoom, Panasonic has introduced another lightweight sharpshooter โ€” the Lumix 28-200mm zoom. And, itโ€™s a compact cracker.

Last year, I wrote about what appeared to be an emerging fashion in lens design: prioritising weight over speed. Sensing a demand for more compact, less burdensome options, manufacturers, especially Panasonic, seem to be responding.

However, producing featherweight zoom lenses inevitably requires sacrifices: these new, lightweight lenses are slow, and employ a variable aperture. In my previous article, I argued why those features are not really a problem for the typical travel photographer. The prototypical example I highlighted was the Lumix 20-60mm f/3.5-5.6 kit lens.

Longer Lumix lens

The Lumix 20-60mm is a versatile performer, and a great choice for an everyday โ€˜walk-aroundโ€™ lens for travel photography. I usually mount it on a Leica SL2, confidently cropping images to extend its effective focal length.

However, its focal-length range only just exceeds the โ€˜standardโ€™ 50mm. I therefore concluded that a longer telephoto zoom, employing the same small-is-beautiful philosophy, would complement it nicely.

So, after some deliberation, having watched countless YouTube reviews, I picked up a Panasonic Lumix 28-200mm f/4.0-7.1 Macro O.I.S lens.

Weighing just 413g, the lens is almost the same size as the Lumix 20-60mm, despite its much longer focal -length range. In fact, itโ€™s not that much bigger than a Lumix S-series prime lens.

When mounted to a Leica SL2, the kit weighs 1.37 Kg.

Like other Lumix S-series lenses, it uses 67mm filters. It possesses in-lens image stabilisation, with an on/off switch on the lens barrel, along with an Auto/Manual focus switch. At the time of writing, the lens costs $898 / ยฃ799. US prices are before tax, the UK price include tax at around 20%.

Home and away

My main purpose in buying the lens was for use on a forthcoming Rhine cruise. I hoped to photograph all the beautiful hillside Schlรถsser we would pass, as we sailed, serenely, along the river. In the meantime, I put in some practice using it closer to home.

I am fortunate to enjoy year-round live music in Coronado, California, where I live, much of which is performed outdoors. It is both fun and challenging to photograph musicians completely immersed in their performance. Ideally, I try to get a close-up shot which captures both their emotion and a clear view of their instrument. However, it often requires a longer lens to capture those beads of sweat, and brows, furrowed by intense concentration.

Enter my new Lumix 28-200mm lens.

A few Sundays ago, a favourite band, Ronโ€™s Garage, performed outdoors, under a canopy, at a local Irish pub. Although it was a sunny day, band members were confined to deep shade. Nevertheless, I was able to capture the shot above, with the zoom fully extended to 200mm.

A quick AI-denoise in Lightroom yielded a clean, sharp image of Ron, strumming his Gibson SG, the adoring crowd reflected in his oversize Aviators.

On another Sunday afternoon, I came across a band playing at The Ferry Landing, where tourists catch ferries to downtown San Diego. Hereโ€™s another shot at 200mm, once again with the guitarist in shade, and San Diego Bay sparkling in the background.  His Fender Telecaster, an unusual model with three pick-ups, is crystal clear, as are the details on his shirt.

Sixwire

Yet more Sunday musical action. Here are some photos from a concert in a local park. As the band, Sixwire, played a mix of originals and covers, I was able to discreetly elbow my way to the front of the dancing crowd. I shot between 80mm and 200mm, depending upon how close the musicians were, and how close-in I wanted to get.

Inspired by the photography of Gary Schwartzwald, I used shutter priority at 1/400s, to be sure of freezing any motion. At maximum aperture for each focal length, AUTO ISO climbed to around 1000, but none of the shots required denoising.

Finally, I tried a few indoor shots at a jazz concert. Having secured the best seat in the house, looking directly along the keyboard, I was after a shot of the pianist’s hands. The lighting was terrible, so AUTO ISO climbed to 5000. But, once again, AI-denoising came to the rescue. At 155mm, I got a nice shot of the pianistโ€™s fingers, tastefully stroking the keys.

Optical zoom versus digital crop

This choice has preoccupied Macfilos authors and commenters for some time now. It has become a point of discussion because of the availability of compact, fixed-focal length cameras with large sensors. Digital cropping to increase effective focal length is therefore all the rage. 

As much as I am a fan of digital cropping, I still think the argument for choosing an optical zoom is strong. Especially if it, too, is a light, compact one. Here is a recent Macfilos article discussing this topic in depth.

Imagine that I had stuck with my 20-60mm zoom for some of the shots above. On the SL2, shooting at 60mm then cropping to an effective focal length of 200mm, yields a 4.2 megapixel image. In contrast, shooting at 200mm with the new LUMIX 28-200mm zoom yields a 47 megapixel image. That’s an order-of-magnitude difference!

Comic-con walkabout

Each July, downtown San Diego becomes a huge, outdoor cosplay festival. The occasion is Comic-con, the annual entertainment industry love-fest I wrote about last year. I was not able to devote as much time to it this year, and some walkways were off-limits to non-Comic-con badge holders. Still, it was another great opportunity to try out the new zoom.

Last year I strolled around with just a 50mm prime, which was a constraint in some close quarters. The wide range of the LUMIX 28-200mm gave me much more compositional room for manoeuvre.

One of the simplest, but most topical cosplay performances was a couple reenacting the โ€˜Cold Play Kisscamโ€™ debacle, shot at 32mm.

Capturing The Pope, and one of his Swiss Guards, also required a wide angle (28mm) shot. The photo of Rhinoceros Woman was shot at 59mm, and the Power Ranger at 34mm. 

So, I ended up operating across a range that could easily have been covered by my 20-60mm zoom. But it was good to know I had a longer focal range available if required.

Using the full range

That full range of the 28-200mm has proved handy on a number of occasions. These included a rehearsal session for the San Diego Symphony. The orchestra was preparing for a show at The Rady Shell, a sensational open-air performance space in San Diego. They would be providing a live musical soundtrack for a showing of Top Gun Maverick.

Hereโ€™s a 28mm shot of Tom Cruise onscreen, pulling 10Gs, to the accompaniment of the orchestra. And hereโ€™s a 200mm shot of the orchestra string section and leader (purple shirt).

My second opportunity to use the full zoom range came on a sailing trip around San Diego Bay. Taking photos whilst on a sailboat swinging wildly in all directions is not so easy. In retrospect I should have set the shutter speed at 1/500s and aperture at maximum. Even so, I was able to photograph some passing boats at 175mm, and our fearless skipper at 28mm.

Macro-mode

At 28mm, the LUMIX 28-200mm f/4-7.1 Macro O.I.S zoom can focus to within a few centimetres of a subject. I tried out this macro-mode on a few flowers plucked from an indoor arrangement.

While I was at it, I thought I would try my hand at photo-stacking, to see if I could get the entire flower head in focus. Dirk Sรคger posted a superb article about this technique last year, which I reread, multiple times.

The single chrysanthemum image is a composite of eight images shot at f/11. The image of the two yellow chrysanthemums is a composite of ten images shot at f/4. I used my Lume Cube Mini to provide some side-lighting for effect.

The two close-ups look sharp, the lens, once again doing a superb job. As far as focus-stacking goes, I now have it figured out. Once I realized the advantages of using JPEGs, for the stacks, and worked out how to add them as layers in Photoshop, I was off and running. I can expand on my protocol in a separate article if anyone is interested.

Multiple exposure

To wrap up this overview of my experience with the Lumix 28-200mm zoom, I will share a few multiple exposure shots I took with it. Intrigued by Andrew Tobinโ€™s incredible multiple-exposure abstracts, described recently, I thought I would try some myself.

It is not possible to shoot multiple exposures on the Leica SL2. However, the Lumix S5 allows up to four exposures in a single frame โ€” nowhere near as many as Andrew used, but fun nevertheless. I used the zoom lens to isolate features on several buildings, then took four exposures, adjusting the camera position throughout.

I could, of course, have used almost any lens for this experiment. But, the zoom did give me the flexibility to compose a full-frame image encompassing just the features I wanted.

As someone who enjoys dabbling in abstract photography, I will definitely be trying more of this in the future.

Conclusion

I am delighted with this new purchase. The Lumix 28-200mm zoom aligns perfectly with my photographic interests. Coupled with a Leica SL2, it gives me a flexible, high-performing, and portable kit.

The lens delivered impressive image quality, throughout its extensive focal-length range. Although, on paper, it is slow, this proved no impediment to my photography. High-ISO-capable sensors and AI-enabled denoising make even low light photography quite feasible. I even threw in some lens-blur to narrow the apparent depth-of-field on some images. Did you notice?

I now plan to travel with the SL2 and these two lightweight zoom lenses: 20-60mm and 28-200mm. Together, they give me a 10x focal-length range, whilst weighing about the same as a single 50mm APO-Summicron SL. With one on the camera, and the other in a waist-belt pouch, Iโ€™ll be ready for just about any photographic adventure.


All images in this article were taken by Keith James


Read more from Keith JamesRead more about the Lumix 20-60mm zoom


4 COMMENTS

  1. This is a heavier outfit than my elderly fingers could carry, but I have to admit you’ve got some amazing photos of the musicians!

  2. Hi There Keith
    Great article and good points – a good zoom beats digital cropping (where you get slower effective aperture anyway). I think that what has changed recently is that, whereas it wasn’t really possible to make one of these long range zooms good quality, now, it is, so whereas a similar lens 10 years ago would require you to put up with a poorer images, now the only disadvantage is the slower aperture . . . and the higher available ISO on the modern cameras means that even this isn’t much of a problem. I have the 20-60 and also the 70-300 f4.5-5.6 Panasonic S lens, and although it’s larger and heavier, it’s still relatively light and great quality. It weighs 790gms which is just about 1kg less than the Leica 90-280!

    • Hi Jono,

      Interesting you mention the Lumix 20-60 which both I and Keith (especially) love. For its size, weight, and price, it really is a bit of kit. The 20mm wide end is so useful and, frankly, I’d swap 10mm at the wide end for 10mm at the long. A little cropping gets you to the long end of a โ€œstandardโ€ 24-70 zoom, but you can’t uncrop to 20. I know several photographers who also love this lens, including Don Morley. I know we’ve discussed this before, but what’s your assessment of this lens? Mike

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