Shooting Soccer with an OM-D: Can it do it?
This week we have a question that was sent in from Andrew Kern (or, AJ). Rather than replying to the email directly I thought it would be best to answer AJ's question right here on the blog for everyone to see.
If you're in a position to listen then go ahead and hit play on the audio player below, if not, scroll down a little further and you can read through today's question from AJ and my response. Either way the audio is the same as the text to make sure you're not missing out.
AJ is an Olympus shooter photographing High School Soccer (or, as we call it in the UK, Football :) ). AJ writes:
Hi Mike,
I'm already in the Olympus camp. I jumped in buying an E-M10 kit with the stock lens. After that I picked up a 40-150mm f/4.5-5.6 MFT lens and after that a used 4/3 50-200mm f/2.8-3.5 non-SWD with an adapter. Using Manual Focus with peaking and High sequence mode I have managed to get good results by anticipating where play is going to be and then focusing there. However, I'd like to increase my keeper rate and not feel as though I'm missing shots by anticipating play. Most of the games happen under lights near dusk so I feel that a fast lens is a must. I'd love to say that my gear puts bread on the table but that's not true. So my question is what should my next investment be to help me:
Better glass (OLY 40-150mm f/2.8)
Better body that can better use the glass I already own (E-M1 second hand prices should dip a little when the E-M1 mkII is released)
Something else?
Thanks
AJ
Thanks AJ for your question. This is rather timely. Only last week my good friend Paul Griffiths and I were discussing how each type camera has it's place as a tool. Paul, being a Fuji shooter and myself, using Olympus of course, both agree that when it comes to professional sports photography a sports-oriented DSLR is probably still the way to go. I'll dive into the reasons why in just moment as part of my answer. But, to start I'll address each of your three points separately:
1. Better Glass?
When is there a reason not to get better glass? Well, in all honesty the answer is actually that you should be using the best that you can reasonably afford, with particular emphasis on the 'that you can reasonably afford' part. AJ mentions that sports photography doesn't pay his bills, which to me says instantly that AJ should be looking for good value in his lenses and equipment. That said, when it comes to sports photography we need more than just sharp glass. We've all come to know and love Olympus lenses for their sharpness, there is no doubt about that. Even some of the entry level lenses that could be considered budget options are able to resolve fantastic sharpness.
However the difference these days between a top lens designed for a Pro and an entry level lens isn't just it's ability to resolve sharpness. That's more of a minimum requirement. The difference in fact is the quality of the components inside those lenses, specifically the motors and mechanisms that rotate and move the optics inside the barrel. Naturally more expensive lenses will use higher quality components, which, as you would expect work faster and more accurately. So yes, in effect the Olympus M.Zuiko 40-150mm f/2.8 PRO will focus faster than the lenses you've mentioned in your question and they'll stand a better chance of maintaining that focus too.
Add to that the 40-150mm f/2.8 PRO is a constant f/2.8 aperture and comes with a tripod/monopod collar and you're looking at a lens that is definitely more tuned to shooting soccer. That said, the lens won't make all the difference. In fact, a better body will likely be a smarter investment:
2. Better Camera Body?
The OM-D E-M10 you mention is quite similar to the other OM-D's in the range, however, let's be clear; sure it may be able to produce images just as sharp, but again, it's ability to maintain focus on a moving subject is going to be far more limited when compared to it's more premium brothers. Even (and especially) when compared to the now rather old Olympus OM-D E-M1. Aside from not having things like weather sealing, the area in which the E-M10 comes up short is that it only has contrast detect autofocus. So, when it comes to locking focus on a static subject in reasonable light it shouldn't have a problem at all, but the issue is when that subject is moving and light is less than favourable.
You may have seen my motorsports images that I shot with the E-M1. There were some circumstances that allowed me to do this. For starters, the E-M1 itself makes use of phase detect autofocus, meaning it is able to better determine the subject by the distance between the subject and it's background and by what's moving. The E-M1 does this in conjunction with contrast detect; it will pick out the vivid colours of a car (or the lights on the side of a car in the case of Le Mans) and use that to help maintain focus. Above all that though, and perhaps most importantly the subject is moving in such a way that it is ultimately easier to photograph: the cars themselves are actually moving in a predictable motion; i.e from left to right and they're also maintaining a relatively similar distance to me throughout the entire panning range.
Soccer, or Football and other team sports, whether that's hockey, Basketball, NFL football etc will pretty much all feature players changing directions and pace quite rapidly, which is why really you see the top sports photographers using those cameras with full frame sensors with a multitude of huge pixels making use of phase detect (often cross type I may add) focus points. Another factor is of course the multiple subjects. You will have players on the same team in the same colours both in the foreground and the background of your frame making it even harder for the rather limited focussing system on the E-M10 to determine which is the intended subject. Effectively cameras, such as the Canon 1Dxii and the Canon 7D are all going to lock focus using both the contrast and the distance of the subject and then be able to better maintain focus on that subject. They're going to far superior at shooting sports than the E-M10 (and E-M1) Which brings me to my final answer...
3. Something Else?
My answer to this last part is purely because your question talks about high school soccer. If you were shooting anything else, such as motorsports, weddings, portraits, macro work etc then sure, I'd tell you to keep at it and keep practicing, if you can reasonably justify an E-M1 and or a 40-150mm then go for it - it will help your cause.
But, given that you're shooting soccer, I would advise you to go and hire, or even buy if you're that way inclined, an old Canon 7D mark 1 at least and see if you can get a telephoto lens to go with it. You'll be able to see the difference immediately. Your keeper rate will improve no end. Not least because of the more capable auto focussing system, but also because the optical viewfinder is simply faster at this point in time. Perhaps in future the EVF's we've all become so fond of will refresh just as though you were looking through the lens, like with a DSLR. For now though, using a mirrorless for sports will reduce your keeper rate.
That's not to say that practicing won't get you some way to negating this. I found that with motorsports my keeper rate went up every time I went back to the track to make more photographs.
Lastly, I would add also that even Fuji and Sony mirrorless cameras won't do the same job as a high-fps, crop sensored DSLR can do when it comes to shooting this sort of subject. I'm sure they'll be there before long though. At the time of writing and recording this post an announcement for the E-M1ii is just a week away, but right now, if we talk about using the right tools for the job, I think realistically the most instant way to increase your keeper rate when photographing a team sport such as soccer, is to pick up a DSLR.
Your Results?
I would love to see sample photographs of Football (soccer), NFL, Hockey or any team sport that you've made using your OM-D or O;ympus camera. Share a link below for us all to go and take a look at and I'll be sure to give you a shout out in the next episode.
As always, don't forget to subscribe using the subscribe page to ensure the next time you're reading this blog, that it's in your inbox!
The Olympus OM-D E-M1 shoots the Le Mans 24 Hours
If you follow me on social media you may have noticed that I was over in France to watch (and photograph) the Le Mans 24 Hours; a race held every year in (oddly) Le Mans. It's a race that tests the drivers, the cars, the designers and the engineers. But let's not forget that we as spectators often stay up for the entire duration of the race too!
This was my 3rd Le Mans 24 hours and one of the most exciting yet. The photography, as well as the racing, was a lot of fun. I was also at Le Mans in 2013 and 2015 (missing a year because my son was born only a few months earlier).
Every year the race takes place in mid-June, starting on a Saturday at 3pm and finishing 24 hours later on the Sunday. My good friend and fellow photographer Neil Graham and I once again stayed up from sunset to sunrise to watch the race through the early hours of the morning, capturing some great shots along the way. Whilst naturally, owing to there being more light; the photographs I made during the daylight hours are cleaner. They were also easier to make because of course you're free to use a wider range of settings. Throughout the night and after the sun has set the challenge becomes all about your ability to pan smoothly using the settings that let the most light into the camera. That means f/2.8, higher ISO's and the lowest possible shutter speed.
In previous years I've focussed on the photography during the daytime and have (in my opinion) always ended up with a good number of clean, sharp images. Just take a look at 2015's Le Mans gallery to see the comparative results. To be honest, in good light it's relatively easy to get good images. Especially at Le Mans when you have an abundance of time (24 hours!). That's why at this years' race I focused more on the racing action after the sun had gone down and the darkness of night had truly set in.
Equipment and Settings
All of the images you see here were made exclusively with the Olympus OM-D E-M1 and the Olympus M.ZUIKO 40-150mm f/2.8 PRO. I've included all my settings and information below each image as well for those of you that may be interested.
I did make use of the 1.4 Extender as well whilst I was track-side, but in truth; at night time f/4 (which is the maximum aperture when you use the extender with an f/2.8 lens) was just not letting enough light into the camera. The other consideration was that for the most part we were close enough to the track so it didn't require that extra reach. 300mm was plenty!
Technique
Traditionally I would have encouraged anyone panning for long periods of time to do so with the aid of a tripod, or preferably a monopod for that extra manouvaerability. However, within the E-M1 and the 40-150 I just don't feel the need. The setup is so light that I don't believe it warrants it for me. This is one of the advantages of shooting with such a smaller system. The fact that I have up to 300mm worth of reach on such a small lens (the Olympus 40-150mm f/2.8 PRO) , whilst maintaining f/2.8 throughout that zoom range is a revelation for me.
So, with all that in mind here are a selection of my favourite images from Le Mans 2016. If you have many questions about the images drop me a comment at the bottom of this post or get in touch via email, as always, at: michael@rammellphotography.com
Note: You can click / tap on all of these images to view them at a larger size to inspect the detail
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/80th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2500 | Shutter: 1/125th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2500 | Shutter: 1/125th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 100 | Shutter: 1/250th | Aperture: f/3.5
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 100 | Shutter: 1/125th | Aperture: f/13
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 100 | Shutter: 1/125th | Aperture: f/8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2500 | Shutter: 1/60th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 200 | Shutter: 1/100th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/100th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/125th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 2000 | Shutter: 1/125th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/125th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/125th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/60th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/60th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/60th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/60th | Aperture: f/2.8
Camera & Lens: Olympus OM-D E-M1 & M.ZUIKO 40-150mm f/2.8 PRO
Settings: ISO: 1600 | Shutter: 1/100th | Aperture: f/2.8
What do you think? Were you at Le Mans this year? What's your favourite image from this gallery? Drop me a moment below!
If you want more posts like this direct to your inbox be sure to subscribe. I won't ever SPAM you and I only blog about once or twice a month, so you won't end up with an inbox full of junk from me. I promise!
Olympus OM-D E-M1 Firmware Version 4.0 - Issues
I wrote earlier this week about the release of firmware version 4.0 for the diminutive Olympus OM-D E-M1 and the perks and additional features it's going to bring to our cameras. For that full list of additional features check out my post right here.
This version was announced back in September and not released until November 26th, so Olympus had us all waiting for this one. I would expect, having worked in software testing and IT for well over 10 years now, that the firmware was in development for a much longer period than many of us would have been aware of and of course during it's development it would have been tested thoroughly over and over to ensure it's stability. However it's not uncommon, even for the likes of Apple (as we all know!) that a new release has a couple of bugs here and there and we find ourselves downloading version 4.0.1 or 4.1.0 or some iteration of the update only a week later. After all it's only when it's in the hands of thousands of device users that you can really have every single little fine detail tested as we all use our cameras so differently!
Well, I've downloaded the firmware to my E-M1 and I must say so far; no issues! Now, despite the title of this post possibly alluding to there being some issues with the software - there don't appear to be any at this point. That's not to say however that I haven't come across a few little snags with the download / upgrade process myself and in the various Olympus Facebook groups. So, I thought I'd collate some of them here for you to have a look at so that if you haven't upgraded yet and have left others to test the water for you, here's what you may need to know.
Hiccups with the update
Whilst the update wasn't hard to install, I did have to do a little extra digging to get started because when I plugged my E-M1 in to my iMac I wasn't seeing version 4.0 as an available update within the Olympus Camera Updater Platform. Odd! Reading through some of the Facebook groups I saw quite a few people saying the same and adding that they were on Windows 7, Windows 8 and Windows 10 as well as, like myself using a Mac running El Capitan. So, the good news is (hear me out here) is that the issue with the updater not seeing the new firmware wasn't specific to one operating system.
My initial thought was to check out the Camera Updater site to see if there were any issues or to see if there was a new version of the updater itself - which there was!
So, my first step was to download the latest version of the Olympus Camera Updater. This was actually included however as part of the Olympus Image Viewer update. So I had to install that first. (Here's the link to that download: http://support.olympus-imaging.com/ov3download/index/). You need to have the serial number from the bottom of your E-M1 handy to do this.
I followed the simple install instructions. It gave me The revised version of the Camera Updater and I was set! I plugged in my E-M1 and I was away.
When you connect your E-M1 to your computer you are given a few options - the camera wants to know what you intend to do. I selected the highlighted option:
All Options Reset
So I went through the motions and updated my E-M1 to firmware version 4.0. It was impressively smooth and very fast to complete. However, everything had reset! I should have paid more attention and made a note of some of my settings, but after navigating through each and every setting in the menu's it was only about 5 minutes before I had everything just how I like it again: rear dial for the aperture, front dial for the shutter speed, Fn.1 for white balance, Fn.2 for the ISO and the 'lever' disabled. I make use of the directional buttons to adjust my focus point. I of course had to go through other settings as well, such as disabling the face autofocus detection, putting the EVF back to Mono etc. But it didn't take long at all.
Things to be aware of
One of the things I was really conscious of, having ran into this issue with my original OM-D E-M5 was that the USB cable supplied with the camera is the one you're going to need for the update. Although the port on the side of the camera is referred to as a Mini USB port (and it looks just like one too!) it's actually a slightly different version of the port that requires the Olympus-own USB cable. If you haven't got one for your E-M1 you're looking for the 'Olympus CB-USB8'. I daren't link to one on Amazon or eBay because i tend to be a little suspicious of their claims to be compatible with the E-M1. I prefer, as always, to buy the genuine accessories.
Silent Shooting - Shutter Speed Limitations
I remember reading somewhere, but now I can't remember, that the silent shutter mode is limited to a minimum shutter speed of 1/8th. I didn't think much of this, but my brain obviously had it's pen and notepad to hand and locked that information away for later use. So when fellow Olympus photographer Graham Jones got in touch to ask me if I knew why the E-M1 wasn't going any lower than 1/8th - I knew the answer. Just to be clear you can still shoot long exposures and what not using the regular mechanical shutter mode. It's just when you're using the electronic shutter in silent mode that the shutter speed won't go any lower than 1/8th. The advantage though is of course that the electronic shutter can go all the way to 1/16,000th of a second!
Focus Stacking - Compatible Lenses
I've seen a lot of people saying they can't get access to the Focus Stacking feature that was made available in this new release. This is basically (although, incredibly clever and massively useful) where your E-M1 will now take up to 100 photographs of an image at various focus points and your amazing E-M1 will stack them together and create one single image for you. This takes a lot of the heavy lifting away. I can't wait to use this feature; I'm going to go back and re-shoot my Macro Dandelions!
Anyway, the point of me mentioning this is that the focus stacking feature is only compatible with the Olympus 60mm f/2.8 Macro, the 12-40mm f/2.8 PRO and the 40-150mm f/2.8 PRO. If you haven't got one of these three lenses then you're going to miss out I'm afraid.
I will write a post of my own on the Focus Stacking feature, but in my opinion, for now at least, the best write-up and review with some of the best example photographs to illustrate how this works is by Kazuo Unno over on the Olympus.com site. If it's a feature you're interested in you really should take a look.
Summary
Not that I'm any sort of authority on the matter at all, but as far as I can tell and from what I can see others saying online - it looks like Firmware Version 4.00 for your Olympus OM-D E-M1 is pretty stable. I'm keeping an eye on the usual places online because of course I want to be sure that my own camera continues to perform as perfectly as it has since the day It arrived. If I come across anything though I'll be sure to update you. The best way to keep up to date with information is to Subscribe to the blog - it'd be great to be able to share new content with you regularly. Join over 200 other subscribers today!
I can't wait to get back out on the streets of London again, this time shooting in silent mode. I know that it'll give me a lot more confidence to point my camera at people a little more directly, just like I can when I shoot my sleeping commuters series!
So if you're waiting for everyone else to test this release - consider it a thumbs up from me!
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.
Share and Subscribe
Please do share this post with your friends and those photographers you always battle with (you know the one's!) and in forums where this is often debated. A share link is below. Also, be sure to subscribe to receive much more content like this direct to your inbox!
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.