So I finally made the jump to full frame with the S5 after shooting micro four thirds for ages and man the sensor is great but the lens prices are kind of a gut punch. I got the kit 20-60mm which is actually surprisingly decent for a kit lens especially for vlogging stuff but I really need something faster for this low light documentary project Im shooting in Chicago next month. My logic was that I could just adapt my old EF glass with a Sigma MC-21 but the autofocus is just... not quite there for what I need and I really want native L-mount if I can help it. I was looking at those new Panasonic 1.8 primes like the 35mm or 50mm because they all share the same size which is cool for my gimbal setup but even those are pushing my budget a bit since I need to buy at least two focal lengths. I have about $900 total to spend for two lenses which is tight I know. Is there some hidden gem I am missing or should I just suck it up and go for the Sigma Contemporary line? I heard the 45mm f2.8 is tiny but maybe too slow for dark interiors? My brain is just going in circles trying to balance the price vs aperture vs weight since I am gonna be walking around the city all day... thoughts?
I went through this exact same panic when I got my S5 lol. Coming from MFT, the price of full frame glass is legit scary. If you want things to just work without fiddling with settings or adapters, I think the Panasonic 1.8 primes are your safest bet. They are built specifically for the AF system in the S5 so you wont get as much pulsing as you might with adapted EF glass.
- Panasonic Lumix S 50mm f/1.8 S-S50 is a no-brainer. It is cheap, light, and very reliable.
- Panasonic Lumix S 35mm f/1.8 S-S35 is great for street stuff, but check used prices to stay under that $900 limit for both. The Sigma 45mm f/2.8 DG DN Contemporary is tiny but f/2.8 might be too slow for dark Chicago interiors. Sticking with the native f/1.8 series is better because they all share the same size, so you dont have to re-balance your gimbal every time you swap lenses. It just makes things way less stressful on a shoot.
^ This. Also, I'm gonna slightly disagree on the zoom idea. Since you are really worried about low light, f2.8 might still struggle in those dark Chicago spots. I would suggest looking at the Yongnuo 50mm F1.8 DF DSM L and looking for a used Sigma 24mm F2 DG DN Contemporary. Just be careful with the weather sealing on the Yongnuo tho, it isnt as good as the Panasonic glass. They will easily fit your $900 budget!
@Reply #5 - good point! Getting bogged down by gear is the quickest way to kill your creative flow during a documentary project. I would suggest you reconsider your stance on the Sigma 45mm f/2.8 DG DN Contemporary even if you think it sounds slow. Honestly, for street work, the size advantage is massive because you wont look like a professional target while walking around. If you pair that with a used Lumix S 85mm f/1.8, you stay within your budget while covering two very different looks. Just be careful to test the focus motor on the used unit before your trip. I personally think relying on two native Lumix or Sigma DG DN primes is much safer for autofocus reliability than mixing in cheaper third-party brands that might fail during a critical interview. Make sure to pack extra batteries since that S5 sensor can be a bit thirsty when you're shooting all day.
@Reply #1 - good point! The Lumix primes are the safe choice, but honestly, in my experience shooting street docs, weight and speed of switching lenses is what kills you. If you're walking Chicago all day, you might find the Sigma 28-70mm f2.8 DG DN Contemporary is a better fit. Its shockingly small and light for a 2.8 zoom, and you can usually find them for about $700, leaving you some cash for a fast prime. If you gotta have two primes tho, definitely check out the Sigma 35mm f2 DG DN Contemporary. I've used it for a year now and the build quality is honestly better than the Panasonic 1.8s, plus that manual aperture ring is great for video. You could pair that with a Panasonic Lumix S 85mm f1.8 to get your reach. The 85mm is usually cheaper than the 35mm or 50mm Lumix ones if you shop around. Its a killer combo for that budget.
Honestly, I feel your pain. I tried the budget route early on and learned the hard way that saving a few bucks usually means dealing with weird focus hunting when you least want it. If you really need reliability for documentary work, stop messing with those off-brand options. I had issues with the build quality on some of the cheaper stuff, and it was not as good as expected when things got hectic on the street. Save yourself the headache and just look for a used Sigma 35mm f/2 DG DN Contemporary. It feels like a tank compared to plastic alternatives, and the focus is snappy enough for anything you'll run into in Chicago. For your second lens, try to snag a used Panasonic Lumix S 85mm f/1.8 S-S85. It stays in your budget if you buy second hand and the bokeh is incredible for interviews. Stick to these two and you will be set for pretty much any interior lighting situation without having to rely on an adapter.
TL;DR: Stop chasing specs and focus on one reliable lens that lets you get close without worrying about gear failure. I went through that same cycle when I first switched over. Spent months obsessing over every aperture value and gram of weight. I eventually realized that carrying a bag full of lenses just slowed me down and made me miss shots. My current setup is basically just one decent prime and the kit lens. Honestly, getting something that just stays on the camera and works reliably in the dark ended up being way more important than having the perfect focal length for every situation. You learn to move your feet. I ended up selling off all my extra stuff because the constant swapping was killing my flow. Just get one reliable piece of glass that you actually enjoy using and spend the rest of the time just shooting. Your back will thank you after a full day of walking around anyway.