Olympus Launch the OM-D E-M1ii
At last! On the 19th September 2016 Olympus announced the long awaited OM-D E-M1ii.
When the original OM-D E-M1 was launched it was able to quite comfortably replace (and improve upon) so much of what a traditional DSLR offered. This attracted many to make the switch (including me as I waved goodbye to over £10K worth of Canon equipment!). In the time since that camera was released though we've seen Sony and the 'Big Two' in the DSLR market continue to iterate and improve with mark 2's of their own. Us OM-D E-M1 owners were all scouring the rumour sites for possible mentions and specs of the E-M1 mark ii, but Olympus kept us waiting for the official launch to play their hand.
This latest OM-D feels long-overdue for many. But now it's finally here! And we all know what they say about good things coming to those who wait...
#OMDRevolution - the Olympus OM-D E-M1ii has been announced! The OM-D E-M1ii will sit firmly at the top of the OM-D range and is Olympus' new flagship Mirrorless Micro Four Thirds Camera.
Incase you missed it; Olympus streamed the entire launch in rather Apple-esque fashion by talking through each of the new features with an accompanying slide to detail the changes.
If you want to watch the entire presentation just hit play below. Or if you are just looking for a summary of the features packed into the new E-M1ii, then scroll down a little further.
Spec Summary
In the announcement presentation Olympus provided two very useful slides. The first showed the new and impressive headline specs of the E-M1ii, with the other then showing how much each area is imroved upon vs the original OM-D E-M1:
The new E-M1ii spec, including a new 20Mp sensor from Sony, capable of 4K video, 18 frames per second and 121 focus points, all of which are on-chip phase detect and ALL of which are cross type!
63% Faster EVF response rate...this new viewfinder is apparently pretty impressive!
It seems that Olympus really have listened to what photographers were asking for. Countless times in the Olympus groups I've heard photographers demanding better AF tracking, two card slots and a bigger EVF.
All of these things find their way into the mark 2 with a series of other very welcome improvements too. In the presentation Olympus of course put a lot of focus (no pun intended) on the E-M1ii's focussing abilities. It was said that as well as being faster and more accurate to focus, thanks largely to the 121 all cross-type on-chip phase detect focus points, that this new mark 2 will also be able to maintain and track focus on a moving subject far, far better than before. I rarely heard any complaints about auto focus with the E-M1, but if there ever was one, this was probably it.
Olympus Pro Service
The topic of the the E-M1ii's focusing system was discussed for quite some time and it was after this that I thought they would draw the announcement to an end. What else could there be to add?
Well, as I've discussed and written about before, it's one thing to have a camera and a system capable of helping you to make professional-grade images, but it's something else entirely to have the support of the manufacturer when it comes to warranty, support and repairs. To this end Olympus announced the launch of their new pro level support plans too:
Standard, Advanced and Elite Service options will be available. Although not shown in this slide, it was mentioned in the presentation that next-day loan cameras would be available with a plan...
The E-M1ii and Pro Level Service offerings were not the only announcements today though. I've included some of the other details at the bottom of this post, such as the new battery grip and other accessories.
My Thoughts on the OM-D E-M1ii
In all honesty, in a bid to have this post released in as timely a fashion as possible I had much of it pre-written with the expectation I would just add a few images from the live stream. Much of what I had written still stands, but, the entire presentation - in combination with the E-M1ii's specs and the Pro Service plans - reveal so much more to me than just a new camera. There is a message being sent from Olympus here: Olympus are after the professional market in a big way and not just weddings, portraits, pets, landscapes and wildlife - we're talking top level sports photography too!
The original OM-D E-M1 was a camera ahead of it's time trying to muscle it's way into the world of sports and serious professional photography against a field full of mature DSLRs and big white lenses. Whilst some (myself included) felt it was good enough to seamlessly step into the arena's of wedding and portrait photography and that it was even capable of shooting motor sports with great success, it perhaps didn't ever quite cut it as a top-level sports camera for the professional sports photographer. The omission of dual card slots, limited (or at least a lack of) pro level support and it's ability to track a subject being lesser than that of a DSLR, meant that many pro sports photographers just thought of it as another fad mirrorless camera. This was all despite the original E-M1 having always been widely acknowledged to be the best of all of the mirrorless cameras when it came to auto focusing capabilities - even today! (sorry Fuji Shooters, but it's true!).
However, the E-M1, like every DSLR and mirrorless, had it's limitations. You wouldn't have any trouble convincing many wedding and portrait photographers that the E-M1 was a capable replacement for a DSLR when it came to their work. I certainly felt that it was more it was up to the task and it has proven to be great.
To me at least, as great as the E-M1 was / is, professional sports photography always felt just one step beyond its' reach. Shooting top level team sport events such as football (Soccer) or situations where the subject changed direction and distance rapidly presented the E-M1 with just a little too much to handle. As a result the E-M1 was never largely adopted by professional sports photographers and failed to garner recognition as a true replacement sports photographers' camera, which quite possibly hampered its' bid to be more widely recognised and acknowledged as a professional level camera.
The OM-D E-M1 mark ii now sets out - backed by Olympus PRO service - to take that one final step that it's predecessor arguably couldn't quite make. With it's much improved auto focus system and array of features that any professional sports photographer would demand it appears well placed to do just that! Spec-for-spec the E-M1ii aims to stand toe-to-toe with those big old DSLRs and over-sized white lenses. This is a massively bold move from Olympus. It's something that Sony and Fuji just aren't attempting (or at least they don't appear to be attempting or advertising that this is something they want to achieve). Olympus have set out their stool. Can a camera seen by many professional sports photographers as 'plucky' and 'diminutive' really move in on what has traditionally been the home of those behemoth size camera bodies and lenses?
Even if the OM-D E-M1 mark ii can't do it yet - Olympus are the only company that appear to be trying to take mirrorless cameras in the right direction by attempting to break into that market. With the announcements on offer from Canon and Nikon at Photokina I'm left feeling incredibly un-inspired by those brands and the directions in which they are heading. If we see OM-D's at the next Olympics and pitch-side at Premier League football matches, I can see the perception swinging so heavily that it may just kick start a complete sea change in what it is photographers consider a mirrorless camera capable of being: a truly professional camera suitable for everything from weddings, macro, product, portraits and, the holy-grail; sports photography.
What do you think of the E-M1ii?
Are you going to be buying the Olympus OM-D E-M1 mark 2? What do you think of the new model? Can you see this camera taking over in the field of sports photography? Let me know your thoughts in the comment section below.
Some more slides from the Olympus OM-D E-M1ii Announcement
The front grip has been made larger, which makes sense considering the largest M.Zuiko lenses (the 40-150mm f/2.8 and the 300mm f/4 were released after the original E-M1 was first made. Dual card slots and improvements to battery longevity were also mentioned...hallelujah!
A slide showing the layout of the new auto focussing system. Impressive!
The E-M1 was ever-reliable. Olympus have recognised this and only seek to build upon that reliability. It was a staple of the success of the E-M1.
4K Video, 1 stop of noise improvement, higher dynamic range and the 50 megapixel hi res shot are all features in the E-M1ii.
New accessories include a new vertical grip, which features a directional button pad all of it's own to mirror the same pad you would find on the camera body, making portrait-oriented shooting even easier than ever. Those who use flash will also be pleased to see news of a new FL-900R speed light as well!
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Scottish Highland Wallpapers
On September 5th I was standing atop the peak of the highest mountain in the UK - Ben Nevis! The charity climb was in aid of Sound Sense, but it was also a personal challenge I had set myself last year.
Now, as a photographer, I obviously considered the photographic opportunities that climbing Ben Nevis would present me. However, the peak of Ben Nevis was very cloudy which somewhat ruined those photographic opportunities (how inconsiderate of the clouds to descend to 1,400 meters to block my view!)
Alas, as a result I've got a few great shots of me standing at the summit, but they weren't quite what I wanted, or imagined I'd achieve.
Having said all that though, I actually achieved more! The drive home on the Sunday morning took me through the beautiful, stunning and simply breathtaking Scottish Highlands, including the likes of Glencoe. Photographic opportunities were aplenty!
Today I want to share 5 of my Highland photographs with you, making them available completely free of charge to use as Desktop Wallpapers / Backgrounds.
You can download all of the Hi-Res files in a Zip file right here (13.6Mb), or you can view each photograph in full size by clicking each photograph below. (Just click the download link beneath each picture to download them individually). Alternatively, you can click to enlarge, right click on the image and then choose 'Save As' if you're using a Windows computer
All of these photographs are 2560 pixels on the longest edge (suitable for most Macs and widescreen laptops and monitors).
All of these photographs were made using an Olympus OM-D E-M1 Micro Four Thirds Mirrorless Camera and the Olympus M.Zuiko 12-40mm f/2.8 PRO
Ben Nevis - Half Way Up!
2.7Mb - Download Here
This photograph was taken about half way up Ben Nevis, somewhere around 700 metres up! The ground was steadier here and the sun came out to really light up the scene, injecting some incredible vibrance in to the grass and rock.
Glencoe Stream
3.6Mb - Download Here
On the drive home my route took me through Glencoe. Each side of the road has plenty of places to pull over and simply take in the views you can see. Fortunately for us photographers these pull over spots seem to be superbly positioned to make the most of the views that quite simply surround you! Here, I pulled over and positioned the camera on a stone wall that separates the road from the stream.
Clouds Descending
3Mb - Download Here
Not too much further from the photograph above featuring the stream there was another chance to pull the car over to take in this incredibly sheer mountain! I tried a few different positions when making this photograph, even standing the other side of the road and including the road itself in the frame to give a sense of scale. But this one, showing just a small amount of the fence in the foreground was my favourite.
Skyfall
2.3Mb - Download Here
I'm led to understand that this part of the Highlands was used in the James Bond movie 'Skyfall'. I was reliably informed that the scene was changed for the movie to feature a road, where in fact there isn't one! Silver Efex Pro 2 was used here to pull some of the drama out of the clouds that otherwise wasn't quite clear
Shrouded Mountain Range
2.2Mb - Download Here
One of the last photographs I made before figuring out I'd never get home if I kept stopping at every opportunity was this one. I parked the car and crossed the road to climb a small bank (which was a challenge as I was aching from the climb and descent of Ben Nevis the day before!) I saw the clouds coming in low and got very wet from the rain to make this photograph. The clouds once again were dark and dense covering the tops of the mountains
Copyright Notice
Please enjoy these photographs. But be kind: Do not edit these photographs and claim them as your own. Don't sell them without my permission. Do not use commercially without contacting me @ michael@rammellphotography.com
All works are Creative Commons Licensed:
Scottish Highland Digital Wallpapers by Michael Rammell is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Based on a work at www.michaelrammell.com.
My top 3 Inspirational photographers...and why
When I started looking at mirrorless cameras I naturally looked to find the best work that was being produced with the technology and looked for photographers using the system almost exclusively (or in some cases completely exclusively). I wanted to see what was possible with these cameras.
Having opted to go the Olympus route, I started looking specifically for Olympus photographers who were pushing the OM-D's to their limits and beyond. I found a few photographers who still today remain quite inspirational to me, but all for very different reasons.
In this post I want to share with you some of my favourite photographers shooting with the Olympus OM-D range of Micro Four Thirds cameras today. These guys were the proof, in my eyes, that this was a system capable of producing professional work. The photographers here in this post confirm what a great set up the Olympus OM-D system really is.
Here are my top 3 Inspirational Olympus Micro Four Thirds Photographers:
1. Neil Buchan Grant
Neil is a photographer who I found by accident and whose work I love more each time I look at it. With the other names in this post I went actively seeking their work on the internet, Googling 'Best Olympus Photographers', but Neil's was a body of work I stumbled across long before I had my heart set on Olympus, but Neil's work was also what set Olympus apart from the mirrorless competition.
Clean, beautiful and mesmerising. Neil's is a portfolio I go back to look through frequently and I always stop to admire each photograph in detail, rather than skip through quickly as is so easily done nowadays.
Neil was the first Olympus photographer whose work I can remember coming across as it was a portrait of his being used to promote the Olympus OM-D E-M5 in many magazines and on many websites. At the time I hadn't realised it was Neil's, but after picking up an E-M5 and continuing the research I found the portrait again in a blog post titled 'The Olympus E-M1 takes Manhatten!'. This was the portrait that stopped me in my tracks:
Photographer: Neil Buchan Grant
Model: Irina Sosnova
As you may know I host the Ready Steady Pro Photography podcast and after making contact with Neil online I knew I just had to get him on the show for an interview. I interviewed Neil for the Ready Steady Pro Photography Podcast back in 2014, in which Neil shared a great insight into his success as a travel photographer and his work photographing models and people in general. Don't get me wrong though, Neil does not make it into this list purely because he is a friend. Neil Buchan-Grant was always going to be the first name on this list!
For me, Neil is a photographer who is setting the benchmark and is a shining example of what is possible with Olympus Micro Four Thirds cameras. That said though, hand this guy any camera and I'm sure he'd produce gold every time. Which, is why I see the fact that Neil uses Olympus cameras as a seal of approval for me.
Website: http://buchangrant.4ormat.com/
2. Steve Gosling
Landscape photographers typically go for larger sensors and lots of megapixels, but that naturally means bigger gear and more weight. The Olympus OM-D range lends itself neatly to shooting landscapes and no-one proves this better than Steve Gosling.
Steve seems to have a knack for the 'epic': his work and his portfolio is simply outstanding and full of photographs that are executed to a masterful degree. Technically and creatively Steve Gosling is a photographer I look to, to be reminded exactly how a photograph should be made and also how a black and white should be processed! Steve's work without doubt could be considered as fine art, with his portfolio containing some very unique and very captivating mono landscapes, featuring contrasty and impactful scenes.
I'm mad for black and white, as anyone who knows me will attest, which is likely one of the reasons why I'm drawn to Steve's striking and stellar landscape photography:
Photographer: Steve Gosling
Another feature of Steve's work is a beautiful sense of film that is rare in todays digital age. For me Steve's style and approach produce landscape photographs with a wonderful sense of atmosphere. There is so much to love about Steve's work, but at the end of the day it possess a special ingredient that I just can't put my finger on. A je ne sais quoi if you will (if I'm allowed to be so cliche).
Steve's is a portfolio I can stare at for a great length of time and who's work I would love to have hanging on my walls as large prints.
3. Thomas Leuthard
I'd go as far to say that Switzerland-based Thomas Leuthard is a modern day great in the realm of street photography. A name I think that will be synonymous with the discipline in decades to come.
Just as with Neil and Steve's work, Thomas Leuthard's photographs have impact and posses the ability to make you stop to look closer and inspect the scene. Sillhouettes, low key and beautful deep shadows are a feature or Thomas' portfolio, but expect to see some impressive street / candid portraits too:
Photographer: Thomas Leuthard
When you're out on the street with the camera it's not always the case that all of the right elements will fall into place for you to just capture a great shot, but Thomas seems to have a sharp and well trained eye for a story within a scene. Making use of textures, shadows, framing and reflections: there is always some more than just the image at first glance in Thomas' portfolio.
With an almost Ansel Adams-esque feel to Thomas' work you'd be forgiven for thinking that work on Thomas' site wasn't produced by the man himself: it seems as though the scene is set and Thomas is waiting for his character to walk onto that set and he does...every time. The difference between Ansel and Thomas though is that all of Thomas' work is clean, sharp and crisp: a testament to the innate skill that Thomas has no doubt developed after hours and hours on the streets with his camera.
A true talent with a body of work I find myself returning to on a regular basis. A benchmark for modern-day street photography has been set and Thomas Leuthard is the photographer who has done that.
Website: http://thomas.leuthard.photography
What do you think?
For more work from Neil Buchan-Grant, Steve Gosling and Thomas Leuthard be sure to visit their sites using the links in this post. Subscribe to the blogs, follow them on social media and keep an eye out for their work: these guys never fail to impress!
Copyright
Please note that all photographs featured in this post have been used with the express permission of each photographer. I would like to thank Neil, Steve and Thomas for their generosity in allowing me to use their photographs here on the blog!
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Why Olympus?
Ever since I announced the sale of all of my Canon DSLR equipment and decided to move to an all-Olympus setup, I've received a lot of questions and even some objections from other photographers too. Today I'm going to answer / tackle some of these Q&A style.
Before we begin...
Firstly: I'm not endorsed or sponsored by Olympus. I just really love their cameras and lenses and believe in what they're doing. Our choice of cameras have to be suitable for our needs and I personally think that the Olympus System suits my needs and shooting style closest. Moreover, I enjoy using the Olympus system more than the Canon DSLR system I used to own. That's not to say you will too.
It used to be Canon vs Nikon, with photographers on each side vehemently defending their chosen brand. Well, in a similar way I stand by Olympus and what it does for me.
Secondly, this post is not a justification of my move to Olympus nor is it a sales pitch to you. Photographers are generally an intelligent group and we're all free to make our own decisions. Furthermore my move to Olympus was made after months of consideration and planning, both practically (will it be able to perform as a professional camera?) and financially (what will this cost me?). I wouldn't want anyone to just up and sell their existing DSLR equipment just because I have done so. Please do make up your own mind by reviewing, loaning, borrowing and trying these cameras out.
I am not writing this post to vindicate my decision. It is simply a statement of my opinions so that in future when I am asked these questions I can simply link to this post to save me having the same discussion over, and over and over...This is a resource and as more questions are asked of me I'll probably answer them here in this post. I hope this can act as a trail of breadcrumbs to those considering a change in their camera system too.
A quick list of facts about Olympus and Micro Four Thirds, in case you didn't know:
Olympus have a range of Mirrorless, Micro Four Thirds sensor cameras called OM-D. This is today's digital version of the original Olympus OM 35mm Film SLR cameras from back in the day. Olympus OM-D's feature EVF's (Electronic Viewfinders) in place of the pentaprism viewfinder you'll see in a DSLR. These cameras do not feature a mirror, hence the term 'Mirrorless' cameras.
Olympus have built their image stabilisation system directly into the body of their cameras, rather than having motors and mechanics inside their lenses. As such all lenses attached to the Olympus OM-D range of cameras are stabilised. They are also dramatically smaller and lighter as a result.
- 'Micro Four Thirds' is actually a standard, formed by camera companies Panasonic and Olympus. Lenses from both of these manufacturers will fit on both bodies (i.e you can use Panasonic-Leica lenses on the Olympus OM-D's and Olympus lenses on Panasonic bodies). Third party companies also make lenses for MFT (Micro Four Thirds) cameras, such as Voigtlander, Samyang, Sigma and more.
- MFT Sensors are smaller than DSLR Crop Sensored Cameras and offer a x2 crop factor, meaning lenses have a 35mm film equivalent field of view of twice the focal range of the lens (for example the Olympus 25mm Lens offers a 50mm field of view. The Olympus 40-150mm offers an 80-300mm field of view). This video from Zack Arias explains it neatly
- The MFT sensors are 16megapixels. As of February 2015, the Olympus OM-D E-M5ii can however shoot a 40 megapixel, high resolution shot by combining 8 frames in-camera.
Youtube is an endless-resource when it comes to Micro Four Thirds cameras, so for now that just about describes neatly what MFT is about. So, let's get into these Q&A's:
Questions and Answers
Question: What was wrong with your Canon Equipment, why did you move at all?
Answer: Nothing was wrong with my Canon equipment as such. I simply enjoyed the Olympus system more. The EVF allows you to see what you're shooting, as you shoot it (imagine an Live-View LCD inside a viewfinder - that's what the EVF is). It took a lot of getting used to, but once I'd used it quite a bit I got to the point where the viewfinder inside my Canon DSLR actually felt odd and rather unintuitive. I've seen photographers before that have said to turn your DSLR previews to black and white to aid in creativeness (allowing you to focus more on subject and light, instead of colour). Well, with an EVF you can change it to black and white so everything you see through the viewfinder is black and white. For someone like me who has something of a love affair with monochrome, this is amazing for. I've recently written an article here on my blog, which will somewhat form the basis of an article that will be featured in the March edition of the Olympus Magazine and in it I refer to how much more fun the Olympus system us to use. To quote myself, I said:
"The part of photography I used to find most exciting and get the most gratification from was the part where I imported all of my photographs onto the big screen of the computer to see what they turned out like (sure they look okay on the back of the camera but you always need to check them on a proper screen). The use of an EVF in a mirrorless though takes that exciting moment of seeing your photographs in Lightroom for the first time and puts it in the electronic viewfinder. Everything you're seeing is exciting as you're shooting it! You can see it all in real-time, in black and white (if you so wish). You don't have to visualise light and shadows, you can see them and you can expose for them through the EVF."
So, I decided to move because I felt that the Olympus camera was more fun and helped me to better-realise my creative vision (I liked my photographs more!)
Some of my Canon Equipment for sale back in February 2015
Question: Why didn't you keep the Canon Equipment and just use both systems?
Answer: I did for a year - I used both systems side by side. Initially the Canon remained my go-to for 90% of my professional work, but the Olympus crept in and Canon's 90% became 50%, then 25% until I didn't use it at all. The last few shoots I did before I put all my Canon equipment up for sale, included a wedding, a christening and an engagement shoot - they were all shot exclusively on the Olympus E-M5. I actually enjoyed the resulting images more, not just because I felt they were sharper, but because the exposure was cleaner, the use of light and shadows was (in my opinion) far, far better than I'd ever achieved with my Canon on a consistent basis. Thanks to the EVF and the way the Olympus RAW files render black and white files, I was simply more satisfied with my work. Both technically and creatively.
So, as my Canon equipment was literally gathering dust, I gave a lot of consideration to selling it. It's value was only going to decrease, particularly as Canon's new range of cameras for 2015 was about to be released, rendering my DSLR's 'old'. I wanted to get as much as I could for them before they depreciated any further. After all it's hard to justify having thousands of pounds of equipment sitting in a bag 'just in case'.
One of the sticking points though was that Olympus didn't have a constant-aperture zoom lens to compare to or replace my Canon 70-200 f/2.8 L IS USM ii, which was a lens I used for around 80% of a wedding day. Without something of that description on the Olympus side, I could never sell up and move over. Then Olympus released the 40-150mm f/2.8 Pro lens: weather sealed, constant aperture and an effective field of view of 80-300mm. It was perfect! I tested it out a couple of times at Olympus events and I was sold. It was every bit as good as a lens at my Canon 70-200mm f/2.8
If you're interested I've written a full preview of the 40-150mm f/2.8 PRO right here
Question: Why Olympus? (Why not Fuji, Sony, Panasonic etc)
Answer: Initially, I tested a Fuji X-E1 and loved it. It was a fantastic camera. The EVF left something to be desired, but the files were silky and had that famous 'Fuji' feel to them. But, the lenses just weren't as small as I thought, meaning as a walkabout camera, it wasn't quite as small as I wanted it to be. The tunnel viewfinder option, whilst a fun novelty, was also something I was never going to use in practise (or ever!), so it had features that were useless to me. The main 'issue' though was that as a shooter of a Canon DSLR, I was used to not only fast auto focus, but I was used to accurate auto focus. In late 2013 when I tested this I felt that the X-E1 was simply too slow and I missed too many shots as it hunted around occasionally. I understand that many of these issues have been remedied by firmware updates and don't get me wrong, it's still a great camera and they produce lovely files, but shortly after that not-so-great experience I received an Olympus E-M5 on loan from Olympus for a month I was even more impressed. The auto focus was blazingly fast and even more accurate than I had ever expected from a camera featuring 'only' contrast auto detect to achieve focus. It also felt quite similar to the Canon thanks to the level of customisation in the menus. The EVF was also much better too!
The other systems I looks at included Panasonic, but only briefly after my month-long loan stint with the Olympus OM-D E-M5 and Sony's A7 range. In short the Panasonic bodies weren't actually that small I didn't think and I preferred the stabilisation system in the Olympus. I was of course drawn by the sole full-frame mirrorless that was the original A7 at the time, but there were a few issues with that setup for me:
- The shutter was too loud. Bad for church photography and street photography
- The lenses were comparatively too expensive
- The lenses were too big!
- The lens range was too limited and not mature enough at the time
- The body itself was bigger than the E-M5
As much as the performance of the E-M5 impressed me at the time, my actual reason for looking for something smaller was because we'd just had our second child and so I wanted something I could drop into the baby changing bag and not worry too much about additional weight and space. The lenses for the Olympus range of cameras are some of the smallest on the market. But don't let that fool you into thinking they're not quality lenses, because they are!
So in summary I had found my desired small camera with great auto focus and tiny interchangeable lenses. It felt right and it worked for me
Handheld 0.6s second exposure
St Paul's Cathedral, London. Shot with the Olympus OM-D E-M5 and Olympus M.Zukio 17mm f/1.8
Question: What Equipment have you Purchased?
Answer: Initially, when I was just dipping my toes in the mirrorless waters so to speak I picked up an OM-D E-M5, a 17mm f/1.8 and a 45mm f/1.8 with the battery grip. But, more recently after my decision to go all-Olympus and sell my Canon equipment, I've been able to purchase the following gear with the money I made, plus an extra investment of a little over £1,000. I feel this selection of gear gives me all I need in terms of focal ranges and lens variety:
- Olympus OM-D E-M1
- Olympus OM-D E-M5
- Olympus 9mm f/8.0 Body Cap Lens
- Olympus M.Zuiko 17mm f/1.8
- Olympus M.Zuiko 25mm f/1.8 (With cap)
- Olympus M.Zuiko 45mm f/1.8
- Olympus M.Zukio 60mm f/2.8 Macro
- Olympus M.Zuiko 12-40mm f/2.8 Pro
- Olympus M.Zuiko 40-150mm f/2.8 Pro
- Olympus 1.4 Teleconverter
- Olympus 600flr Flash
- Olympus ED 12-50 f/3.5-5.6
- Cactus V6 Triggers for cross-system speedlight control
I do also have my eye on the yet-to-be-released 7-14mm f/2.8 pro lens and the all-metal built 75mm f/1.8 as well.
Question: Does the sensor size not bother you?
Answer: I'm bowled over by the performance of these sensors. The files have such a beautiful amount of dynamic range. As I have eluded to before (as has my good friend Neil Graham): These files can really take a beating in Adobe Lightroom. Files can be pushed to the limits of white and black and light and dark and the midtones seem to be able to cope and keep up.
If sensor-size bothered me I clearly wouldn't have made this change from Canon to Olympus, especially as everyone else seemed to lust after a Full Frame DSLR. I was positively moving in the opposite direction with my thinking.
The quality of my work whilst using the Olympus speaks for itself I think, but if you're not convinced of it's ability, you only have to look at the work from great Olympus photographers such as Neil Buchan-Grant and Steve Gosling.
Question: How does it perform in low-light? (is high ISO any good?)
Answer: In short and to keep it simple: it's great up to ISO 5000 and good up to ISO 6400. But there is a bonus feature on the Olympus that gives it the edge over it's competition: the in-body 5 axis image stabilisation system (the same system you'll find in Sony's A7ii. As I mentioned at the top of this post Olympus have implemented their stabilisation in-camera. The sensor itself actually 'float's in suspension and subtly moves in response to your hands' shake and unsteadiness to compensate. This helps to create sharper images.
This system has been attempted before in other cameras (I believe Pentax have tried it) but it didn't take off. Well, with Olympus I can tell you it is a resounding success. I can shoot tac-sharp photographs down at 1/15th of a second, breaking the reciprocal rule numerous times over. As a result of this slower shutter speed it means I can let more light into my cameras and as a result of that we negate the need to increase the ISO to similar levels that other cameras may require you to do so.
An additional point would be that the noise that you see at higher ISO's is actually not unpleasing, especially when compared to the noise that can be found on Canon DSLR's, which can often be golf-ball like. The Olympus grain (or digital noise) is rather filmic and subtle. Further more the colour noise is actually not very harsh either. I typically apply around +20 noise reduction and no more in Adobe lightroom and I find this more effective with Olympus RAW files than I do with Canon's CR2 RAW files. As mentioned, these files seem to really be able to pushed and pulled in photoshop.
Question: What is the In-Body Image Stabilisation like?
Answer: It's the best stabilisation system I've ever felt in a camera or lens. I can shoot down to 1/15th. In the above question with regards to high-ISO i've already spoken about this quite a bit. But I would add that the 5-axis image stabilisation is something you have to experience to truly believe it's effectiveness. Whilst looking through the EVF you'll see the frame moving and shaking around as you hold the camera, but when you half-press the shutter to start focussing it's quite 'magical'! The frame instantly becomes smooth and steady. Incredible. You can adjust the settings of the stabilisation, much like you canon on some of the Canon telephoto lenses, so you can have all 5 axis' going at once to stabilise in all directions, or, you can tell the camera to stabilise horizontally or vertically (for panning etc). This, for me, is the secret weapon that Olympus photographers have. This is why I chose Olympus over other camera systems when looking around.
Statement: You can't get shallow depth of field with a Micro Four Thirds Sensor
Response: Yes, you can. Take a look:
Some of the confusion that comes with depth of field (DOF) / aperture on Micro Four Thirds is the effect the sensor size has on the DOF. As an example, take a the Panasonic Leica 25mm f1.4 lens: with regards to it's light gathering ability that remains an f/1.4 lens - it lets in a lot of light. The confusing part for some is that the effective aperture is doubled. So in the case of the f/1.4 lens is becomes an f/2.8. Further, an f/1.8 would become and f/3.6 and so on. An f/2.8 would become an f/5.6 and f/4 has an effective aperture of f/8.
For many this may be a real issue. Having a lens which has it's lowest apertures f/4, seems to be scary for some photographers. Particularly those coming from the world of DSLR's, where f/1.8, f/2, f/2.8 is common and considered the mark of a quality lens (as opposed to variable aperture lenses that range from f/3.6 - f/5 for example as you zoom) but in all honesty, have a look back through your lightroom library and create a smart collection based on aperture and see what apertures you regularly shoot at. I know for me personally, I regularly shoot at f/4 & f/5.6 and f/8 on a wedding day as a safe aperture to get the entirety of my subject in focus. There are times that f/1.8 isn't appropriate in certain scenarios.
And don't forget, just because the aperture works out to be f/4 doesn't mean it captures the same amount of light as an f/4. They don't. The equivalent aperture number is purely reflective of DOF but directly represents the light capturing ability (i.e an f/1.8 lens is still and f1.8 lens)
That part may confuse some. If it does please do get in touch, I'd happily explain further. But, in short, I don't mind that my f/1.8 lenses work out to have an f/3.6 Depth of field. There is more than one way to skin a cat and achieve a beautiful separation between subject and background, such as longer tele focal lengths
Statement: Mirrorless cameras are don't have very good auto-focus speeds or accuracy
Response: When Mirrorless cameras first started making loud noises and gaining attention it was probably Fuji that was the most prominent and favoured mirrorless brand with their x100. It was certainly one of the first mirrorless cameras (with the exception of Leica) that people claimed to start shooting professional work with. But, unfortunately that camera certainly didn't have the most amazing auto focus. Fuji fans may argue that, and I know that this is no longer the case, but this reputation seems to have spread to the term 'mirrorless' in general. "Mud Sticks" as they say. Well, one of the things that launched Olympus to prominence as a Mirrorless camera maker was the fact that the auto focus was so terrific. The E-M5, combined with any of the lenses I have in my setup doesn't hunt or track at all. Better still is the auto focus of the E-M1, which has both contrast and phase detect auto focus, just like a DSLR.
I would accept that it's perhaps not quite as advanced or accurate as a Canon 1Dx or Nikon D4s, but Olympus' offerings certainly compete up to the level of accuracy and speed of the Canon 5diii and Nikon D810.
I have no video footage or means to prove this, i'll admit, but The Camera Store did a comparison to test this and pitted the E-M1 up against a Fuji and Nikon and it faired very well. You can decide for yourself by having a watch here:
Again, if you want to throw in the 'considering the cost difference' card, you could argue that the E-M1 is a quarter of the price of the D4s. Not bad eh!
Further more, something the mirrorless camera makers, such as Olympus, Panasonic, Fuji and Sony do seem to have in common, is that they launch regular and frequent firmware updates for their cameras that often provide significant improvements to functionality. I would put to any DSLR owner that Canon and Nikon don't do this, but instead choose to release a completely new iteration of the same camera instead (D800 > D810. D600 > D610 for example). The last time I remember any DSLR manufacturer releasing a firmware update of any significant note was Canon, when the released Firmware 2.0 for the Canon 7D, increasing the buffer and fps. But that was some 2.5 years after the cameras release and it has since been superseded by the 7Dii.
Now, that's not to say that Olympus and Fuji aren't also releasing new, physical models of cameras, they are, but not as often as Nikon for sure! Fuji have perhaps done it with their x100 range, starting with the x100, x100s and x100t for example - each a new generation of the previous, but more often you'll see the same camera get a shake-up with a major firmware release and from what I can tell (i can only speak for Olympus here) these firmware updates aren't bug-fixes or patches to fix issues with the previous versions - they are enhancements.
Update April 2015: I've recently taken the E-M1 to Silverstone to photograph some motor racing. Check out the full post here, but for the sake of this post, here are a few sample images:
So, when I say I believe in what Olympus are doing - this is something I was referring too.
Statement: Mirrorless systems don't have very good zoom lenses and are only suited to prime lenses
Response: Not true. I would perhaps agree that the Olympus primes are very good and most Olympus photographers will use them, but this is as much to do with the size, weight and sharpness of the lenses as much as it is to do with the quality of them. After all, many photographers moving to mirrorless pick them up for their convenient size, so it makes little sense to buy an adaptor and start mounting a Canon 70-200 to an Olympus or Fuji (which can be done).
As I mentioned Olympus have in the past year released their M.Zuiko 40-150 f/2.8 Pro lens: weather sealed, constant aperture, metal construction and a field of view of 80-300mm. It is a great telephoto lens and that is a fact. Panasonic have a superb (and much smaller) 35-100mm, which of course equates to the more familiar 70-200mm field of view that many DSLR shooters are used to. That is an f/2.8 constant aperture as well, so it's a fast lens too.
Fact is, much like the so-called focussing issues and inability to achieve a shallow depth of field, this is also a myth. Great quality telephoto lenses are available.
Statement: The system isn't mature enough yet, there aren't enough lenses.
Response: Continuing on with the myth-busting answers, this too is also simply not true, especially of Olympus and Panasonic. This statement could well be true for Sony perhaps, but the Micro Four Thirds systems offers us a choice of in excess of 100 lenses. Olympus themselves produce in the region of 30 lenses ranging from wide angles to 600mm, but then you have the Panasonic-Leica lenses and lenses from third party manufacturers too, including some quite exotic lenses such as the Voitglander 42.5 f/0.95 Nokton (85mm). Beautiful lens!
The latest news also is that Olympus are set to also release a series of f/0.95 lenses. This will add more to the already wide variety of lenses and go further to quash the idea of MFT not being able to achieve a shallow DOF.
I don't have much more to much to say about this, except that given that the MFT standard is comparatively young compared to Nikon and Canon's crop and full frame systems - the lens variety for MFT is just as mature and just as well rounded.
Statement: The flash system isn't very good yet.
Response: This is perhaps one area where the statement is partially true. The number of flashes and number of high-powered flashes on offer from Olympus perhaps does fall behind that of Canon and Nikon. However, light is light. You would argue that to get the best optical results from a camera and lens that the best pairing would be a camera and lens from the same manufacturer (with some exceptions, of course) but with flash and lighting all you need is the ability to trigger the light source, whatever that light source may be. Hence the reason I have kept my Canon flash.
Many Micro Four Thirds shooters are opting for the Cactus V6 triggers, which transcend camera and speedlight brand and provides TTL pass-through to combinations of cameras and speedlights from multiple manufacturers.
The fact is, using a Cactus trigger somewhat makes this point irrelevant. If you think that Canon's EX speedlights are the best, or that Nikon's SB speedlights are unbeatable - then that's great, because we can use them too (and not just in Manual mode)
Question: I've heard battery life isn't very good?
Response: Somewhat True. The battery life of my Olympus E-M5 and E-M1 is certainly not as long as the battery life of my Canon DSLR. I could shoot 1000 frames on one Canon DSLR batter and with a grip I'd have 2 in the camera. I would be able to shoot a wedding on a Friday, photograph my childrnen's birthday party on the Saturday and probably only need to change the battery part-way through Sunday when I would be photographing Deer at Richmond or shooting Street Photography. DSLR batteries do have stamina.
I would say that I am getting 500 exposures from my Olympus batteries. They're rated at 400, but one of the things I have come to realise is that the EVF, whilst it does of course use battery, also means I don't ever need to 'chimp' because I have seen exactly what I have just photographed. I have my LCD turned off at all times (not because it's necassary, but because of preference. to have it come on I'll need to press the play button to preview the photograph I just made, or press the menu button to go into the menu. Otherwise, all settings can be seen and changed through the EVF whilst the camera is up to my eye by using dedicated buttons. The more you shoot with your camera the more efficient you become.
I use a battery grip on both my E-M5 and E-M1, so I'm typically good for around 1000 shots on each. I only use genuine Olympus batteries. Which, I may add are much smaller and much lighter, which probably goes someway to explaining the reduced stamina (as well as the EVF of course)
Question: How well built are the cameras and lenses.
Answer: The E-M5 is a superbly built camera and is splash and dust proof, much like a mid-range DSLR. The E-M1 however is fantastically sealed (and it is said that the E-M5ii is sealed to the same extent as well). So, in short these cameras are ready for the elements. Check out these videos on YouTube showing how hardy the E-M1 is (Waterproof test from Blunty and Freeze / Cold Weather resistance). The cameras feel solid and the first time you pick one of these up you will no doubt be very pleasantly surprised by how premium the build quality feels. I have spoken about the E-M5's build quality in more detail in my E-M5 review. Check that out here. If you're wondering about the E-M1, it's a step up from the E-M5, so it too is excellent.
The lenses are also superbly built. Olympus have 3 tiers of lenses, with the basic set of lenses being variable aperture, mostly plastic and often extending elements when zoomed. Effectively the non-pro lenses. Many reviews though will tell you that these lenses are still incredibly sharp.
Next up is the M.Zuiko premium range. This is where you'll find many of the prime lenses, including the 17mm, 25mm, 60mm Macro and the 75mm. These all have a very premium and solid build. The 17mm and the 75 mm in particular feature an all-metal construction. They're very, very nice lenses indeed. [Update/Correction: The 60mm Macro is splash proof, but the other lenses in this range are not. I can however say that I have used the 17mm and the 25mm in the pouring rain and they've been absolutely fine]
At the top of the pile are the Olympus Pro line of lenses, some of which are still in development (including a 300mm prime). These lenses are pretty much built to match the E-M1 in terms of build quality and levels of weather resistance and materials used. The 12-40mm and the 40-150 that I have feel every bit as premium as my old Canon 70-200L f/2.8 IS USM II. They really do. The 1.4 teleconverter is all metal as well.
All mounts on the lenses are metal.
Question: You say you're using your Olympus cameras professionally. Aren't you concerned what your clients may think, or are you worried a wedding guest may have a better camera than you?
Answer: No, I'm not concerned at all what my clients think. My clients book me for my images and book me because of my personality and likeability. I certainly wouldn't expect a higher booking rate just because I shoot with a Canon 1Dx and only the most expensive lenses, so why would I expect fewer bookings because of my Olympus? My photographs are the handshake - my clients see these and want to get in touch. I am my voice and I seal the deal.
The E-M1, with it's grip, looks very professional and serious (and it is!). If you're conscious that size matters then that's fine, that's something you'll have to deal with, but for me I'm more than happy that I can produce professional work with my Olympus cameras. If there were any doubt in my clients mind that my equipment was not up to the task, then I just show my portfolio.
Conclusion
So, for now that answers most of the debated topics I've seen or been dragged into. I very much hope that this post will demystify many misconceptions about Mirrorless cameras, and Micro Four Thirds in particular.
There was a time when Full Frame photographers would laugh at Crop Sensors and they were deemed no up to the task. They very seem to be accepted now and the MFT format seems to be something many people judge and condemn before they even use it, just because the sensor is slightly smaller.
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test an Olympus camera for yourself
Well, I would urge you to try before you pass judgement. If you're still not convinced then that's fine, as I have said each photographer will be suited to a different system. But, if you're keen to try a lens or a body for a few days, or to attend an Olympus event to find out more about this technology, you can use the 'Test & Wow' system to loan equipment for free from authorised Olympus retailers, or you can get yourself along to an Olympus event via the Olympus Image Space. Many of the events are free and most of them will feature an Olympus Ambassador or an Olympus rep, so you can have all of your questions answered. Some of the events also provide free Tea and Coffee. If you're really lucky, they break out the biscuits too! :)
Need to know more or want a question answered?
If you have any questions just post a comment below or get in touch with me via email. I'll happily answer any questions I can.
Thanks for reading! Keep on shooting.