Kids wish for the cutest things
I'm inspired by the oddest things. We can be anywhere and I'll see something odd or mundane and see inspiration in it. Today's inspiration was a little more obvious, but owing to it's cuteness and off the scale score on the adorable chart it needed sharing.
My wife and I went to a school fete here in the UK and in typical tradition there was face painting, bouncy castles, ice cream and raffles. This one particular tree though was very colourfully decorated, with a sign reading 'Wishing Tree' on it. Here are some of the kids wishes:
"I wish that my family will be with me forever!" Read one label. It melted my heart!!
I expected to see far more simple and perhaps more materialistic wishes on the tree, but to be honest most of them were wishing for wonderful things. There were of course a few children seeking super powers or the more humble request of possessing football skills: "I wish I was a good footballer" another wish read. Aaawwww!! Cute!
In their neatest possible hand writing (because neatness has a direct impact on how likely it is your wish will be granted) this thoughtful and giving child was wishing for someone else, rather than themselves, which for me is adorable!
"I wish Nanny would get better soon and come home"
Bless! My wife and I were very impressed. It's pleasing to see young children being so thoughtful.
That's it for today. Just a little brief one to make you smile I hope! Enjoy the rest of your weekend.
(PS: yes, I did add a wish: "I wish for a lay in at weekends!!") those if you with kids will understand!
The Best Way To Improve Your Photography. Period.
There is no magic bullet when it comes to learning photography. Practise, reading and studying are all ways you can improve your craft and become a better photographer.
However, if you ask me there is one, single sure-fire way you can dramatically and quickly improve your photography: Critique.
This applies to every photographer, no matter how raw or how advanced you are. As I've always said: "You can't learn everything through your own experiences".
Feedback from an Artisan
In early June I spent a day with Neil Buchan-Grant. A student of photography - a real craftsman with an eye for detail. After the interview Neil and I went out with the cameras and talked about all things photography and later, over dinner Neil was kind enough to cast his eye over my street photography portfolio. I urged Neil to be honest, harsh and not to hold back and tell me what he really thought of my work.
Whilst Neil was (I believe) very kind and diplomatic to me he did offer some honest feedback. It stung! Neil wasn't horrible about my work at all, but with apparent ease he pointed out many things that were wrong with a number of the photographs and offered ways in which the photographs could be easily improved with a little post-processing alone. Following Neil's feedback all that was wrong with my photographs became clear to me!
I just thought "Damn!", but more than anything it made me determined to go out and make better photographs next time based on the feedback I was given.
I feel like I've come a long way photographically so I was gutted to hear the flaws in my work being highlighted. I personally love my own street photography work, my portraits in particular. Whilst that may sound vein, it is of course because I was there. I remember the moments I made those photographs and the moments that were behind them. I am emotionally invested in my work. Neil is not. So, with a fresh and unbiased pair of eyes Neil was able to offer so much value to my photographs because he is skilled, practised and honest. All components needed to make successful photographs.
My Guide to Critique
Although I already knew and appreciated the value of harsh, honest and open-minded critique, I hadn't really had a session with a photographer whose work I adored like I do Neil's. So on that drive home from Winchester I thought a lot about the process of critique and the benefits it holds. This blog post is borne out of that experience and these are my views on critique...
Seek Critique from a Photographer you Respect and Whose Work You Admire
The first thing I would suggest, if you don't already, is to start making use of bookmarks in your browser, or at least use a notepad: make a list (or a folder of bookmarks) of all of those photographers you respect. By this, I mean photographers whose blogs you read and content you like. If you like their perspective on photography and that photographer resonates with you, great. But also, ensure you truly admire their work. Critique can sometimes be given excellently by people who aren't necessarily the greatest of photographers themselves, but knowing that the person who is critiquing your photographs can actually produce the level of work you aspire to goes a long way to giving their feedback some conviction.
So, like the person, enjoy their work, seek their feedback. Keep in mind though that you shouldn't expect a response from everyone you approach. Be prepared for that.
Positive Feedback is Half as Valuable as Constructive Criticism
Be selective about where you choose to seek critique. Places such as Flickr, in my opinion, are wonderful places to get eyes on your photographs and people are very willing to also drop kind comments on your photographs too. However, kind comments are not always what you want. "Well done!", "Great Shot!", "Love This!" don't offer any real value other than to let you know that the person in question likes the photograph you've posted. You don't know why they like it. It is nice to get a pat on the back for the work you produce, sure, but instead why not look for the feedback where people point out what is wrong with the photograph in a constructive and helpful manner. Only then will you learn what you need to improve upon.
I'm not suggesting you seek out negativity, but just look to gain something more than confirmation that someone likes the photograph you've uploaded.
Take it on Board
It's one thing to seek the feedback and then get it, but another to actually implement changes based on that feedback, or be conscious of what you're doing when you're next on a shoot. Rather than just seeking critique, actually take the critique on board. Consider what it is that person has pointed out or told you and then consider whether you want to implement a change, or research a method of how to improve that weakness in your photographic skill set.
Basically, listen to the critique and then apply it to improve. It sounds simple, but without this element the whole critique process falls down. What's the point in listening if you're not going to use what you've been told?
Have an Open Mind
Furthering the idea of taking the critique on board, you also have to have an open mind when seeking critique. Obviously, you're not always going to agree with what people have to say, even if it is valid. Stubbornness can sometimes be a good thing, but other times it's a good idea to listen to what others have to say with an open mind. If you're not prepared to listen to the feedback of others, you're not going to learn.
If you do decide that the way you've shot or processed an image is better or preferable to what someone says in a comment, that's fine, but still give some thought to what the other person is saying, at least. After all, they have taken the time to write their thoughts down for your benefit. It would be courtesy to consider what they're saying.
Be Selective
Taking one step back to the subject of stubbornness: sometimes, you may get critique, and it may well be very valid and fair, but you may still not agree with it. Your photographs are your work, you blood, sweat and tears. You have invested in making your photographs with your energy, early mornings and late nights - You do have the right to be single-minded about your work and continue pushing on with a style of your own, even if others don't agree. I'm not giving you the green light to ignore everyone's critique, but I am saying you can leave the door open to sometimes not agree with someone's feedback: perhaps that person's feedback is based on their own preferences and styles. Maybe I'm repeating my previous point, but again remember people are taking time to offer feedback. They're doing you the favour.
Don't Take It Personally
We all know that when sitting behind a keyboard people are more bold and will often say things they may not say if they were sitting across a table from you. People can be more ballsy and more blunt. Perhaps more than they would ever be in the real world when talking face to face.
But that can be a good thing...
Having that filter removed is a double-edged sword: it may invite trolls - those people who are just rude and offer criticism (not critique), These people you can choose to ignore. But, having no filter as such also allows certain people to come along and offer feedback in a harsh and honest way - which whilst it may sting a little will certainly offer lots of value.
Ignore The Negative Comments (Trolls)
Further to the above of not taking it personally - even from the trolls. It's in some people's nature to jump on board and slate your work. Let them do it. Just ignore the comments and don't get involved, otherwise you'll just end up arguing with someone who is well versed at over-the-internet debates. Remember that your aim was to seek helpful, constructive and honest feedback - not spend your time getting involved in debates with people on the other side of the planet whose work you've never seen and are unlikely to ever meet.
So be ready to take the rough with the smooth!
Your Style & Approach Will Evolve Over Time
Some people are at different stages in their relationship with photography. Others may have just started, whilst others may have been around the block a few times so to speak. So when someone suggests that a selective colour version of your photograph may look great, don't judge them. They may not know they're committing a faux pas. Remember, that in the same way your photography style has evolved and your knowledge has grown - everyone else is on the same path as well.
If you're not putting your work out there for critique because you think you're not good enough yet, or because you're not ready to do so, then when will you be ready? My answer to that would be never! The sooner you seek critique and start actioning it, the faster you'll develop. Don't wait until you're better. Go and get better!
Think about a band or a musician you're a fan of: over the years how have their albums changed? Their breakthrough album may have sounded 'fresh' and new at the time, but a few albums and a few years later I'm sure you'll agree that their later work is more polished and has a larger production, making their earlier work maybe sound a little more 'raw'. Well, it's the same with us photographers and creatives.
Fashions, Trends and Style
Over the decades trends have changed. At the moment we're apparently in the age of filters and effects. This point I'm making here is not a direct attack on filters and effects, but remember: just because it's fashionable and popular, doesn't mean you have to do it too. In fact, as I've said before being different is just as important as being the best (if not more important). So be wary if you decide to take part in fashions and trends. My advice would be to stick to what you enjoy doing and the way you like doing it, improving along the way.
Harsh and Honest Critique is the Best Critique
Don't always seek validation from those you admire, but instead seek to please yourself
This may sound contradictory to what I said earlier, but there is a difference between seeking validation and seeking critique: yes, you should approach those whose work you admire for critique, but be careful not to get into the habit of just producing work to please those people. These people should be the ones helping you to define a style, carve out an approach and polish your products so to speak, but they're not the people you need to make happy. If you shoot weddings, portraits, pets or any sort of photography where you have a client: it's those people you need to make happy. It's those people who need to love your work. Whilst they may appreciate the straight horizon and defined jaw lines, they may not necessarily care about a little bit of noise, or the bokeh or the extreme, fine details that the photographers you show your work to will point out.
Clients and photographers are very different audiences...which brings me to my next point:
Remember Who your Audience Is When It Comes To Your Photography.
I've written about this subject already in a previous blog post. I want to urge you to remember who you're shooting for. Are you shooting for clients, yourself or for other photographers? You need to know this and keep this in mind as it will impact the work you're producing.
If you're shooting for yourself it can be whatever you want. All that work has to do is please you.
If you're shooting for other photographers then the chances are you're going to be looking at producing the most technically perfect pictures you can.
If you're shooting for clients however, then it's a different game - Now you're looking to make photographs that they'll enjoy and as I mentioned before: they're going to appreciate different aspects of a photograph to both you and other photographers. To a client the photographs are almost always about the moments, the expressions and the people. Not the technical elements.
Giving Critique As Well As Receiving Critique
Ghandi said: "Be the change you want to see in the world". Well, i would say that you should also give the critique you wish to receive.
Giving critique is also valuable. Stop to look at photographs. Inspect them. Don't necessarily search for flaws, but instead look for what works in that photograph, look for the successful elements, the things that make the average photograph a great photograph. Then, tell the photographer who posted that picture what it is you love about it. Sure, mention the halo, or the aberration, or the wonky horizon, but be sure to be positive with your critique, be honest and be helpful. Don't just beat people down. Be courteous.
Want Your work Reviewed by Neil Buchan-Grant?
Neil is now offering single image reviews and portfolio reviews. If you want to have the British Travel Press Photographer of the year take a look at your work, just head on over to Neil's website and click Portfolio Reviews
What do you think?
No matter where you are with your photography I'm sure you've had someone criticise your work (not critique). When was the last time you received solid critique from a fellow photographer? Did you action or change anything as a result of that critique? Did that improve your photography.
I would love to hear your critique experiences - share them below.
Photographers - Who is your audience?
Something I've seen a lot recently is photographers blogging seemingly for the attention of other photographers. Whilst this would be fine on a photography news site or a photographic training site, I'd say that really it's not ideal on a wedding or portrait website where non-photographer paying clients are looking.
An industry where debates are always had
Photography is no doubt an industry full of debates: Jpeg vs RAW, Full Frame vs ASPC, Canon vs Nikon and on and on the list goes. Because of this we all tend to choose sides and have opinions and that's great. If everyone thought the same thing it'd be a very dull world indeed.
However, I just question whether the websites we've painstakingly taken the time to put together for the benefit and purpose of obtaining clients are the best places to voice our opinion on all things photographic?
It sometimes feels a little bit like publically airing your dirty laundry to me.
There are plenty of photographers out there now who have successfully transitioned into making a living from almost exclusively (sometimes completely exclusively) from teaching photography. So, it sometimes does happen that a photography teacher will have a balance opposite to most of us whereby they make most of their income from teaching, but still occasionally shoot for a client, so you may see a site hosting content for everyone. But what works for those photographers in those situations may not be right for you.
Take it elsewhere
Personally, I set up a completely separate site to allow me to talk about photography. It allows me to talk about gear, write reviews, share personal work and my thoughts on photography. It allows me to write posts just like this one; that are designed to make you consider for a moment whether your blog, where your potential paying clients may be looking, is the right place to add your own proverbial fuel to a particular photography-fire.
You can of course write about what you like. This is, after all The Internet and your blog is of course your domain. I can't tell you what you should and should not be writing about. I'm purely trying to get you thinking about whether your blog is the right place for some of these discussions.
Not everyone will agree, but my advice is this: stick to private groups and communities or start a separate website for that sort of chat. In short: your clients don't need to see all of that. Put your best foot forward - that being your wonderful photographs, testimonials from previous clients and blog posts advising, helping and guiding your next clients. Show off what you can do for a client and do everything to get them to book you, not what you think about a particular camera or another photographer's work. More often than not your opinion on cameras, tech specs or another photographers work is not why your clients are going to book you.
What do you think?
What are you thoughts? Should we be keeping this side of the world of photography away from our clients, or, should our clients be made aware of what is happening in the photography industry? Post your comments here
Olympus Pen Mini E-PM2 First Impressions Review
Earlier this year I took an OM-D E-M5 on loan from OlympusUK for review. I loved that camera, so much so that before it went back to Olympus I decided to purchase my own. There are lots of things to love about it, but it's not all roses. You can check out that review right here.
Now OlympusUK have sent me an E-PM2 or, PEN Mini if you prefer.
In much the same way that the E-M1 and E-M5 are members of the OM-D range, the E-PM2 is part of the PEN Mini range. To be clear though; the E-PM2 sits firmly at the bottom of Olympus' mirrorless offerings: imagine their camera range in this order (1 being high end, 4 being low-end):
- OM-D Range: (Olympus OMD) - Includes Olympus OM-D E-M10, E-M5 and E-M1
- E-P Range: (Olympus PEN) - Includes Olympus PEN E-P5
- E-PL Range: (Olympus PEN Lite) - E-PL5 & E-PL3
- E-PM Range: (Olympus Pen Mini) - E-PM2
In short, The Pen Mini is a Mirrorless camera, in my opinion lacking (intentional use of the word) a built-in or included EVF or Viewfinder. Of course, you can purchase an EVF for the hot shoe for just a little bit more money, but that adds bulk and size to the E-PM2 and if truth be told: the tiny, compact size of this camera is it's selling point. I'll come to that in just a moment. The E-PM2 is also incredibly priced as well. Again, I talk about this later on in this review
Who is this review for?
Before I begin talking about the E-PM2 in more detail I want to first set out by saying that this review is most likely for an existing Micro Four Thirds shooter looking for a small & light backup camera that will drop into their bag and take their existing Micro Four Thirds lenses. Either that or you could just be looking at the E-PM2 as one of your first decent interchangeable lens cameras.
This review however is not for those who may already own a DSLR and are perhaps looking to take their first steps into the world of mirrorless cameras - if that sounds more like you I would skip this camera and go directly to an offering from the OM-D range instead for the addition of the Viewfinder and controls (which, we'll come to shortly)
I would say that the Olympus PEN Mini (E-PM2) is a camera that will compliment your existing Micro Four Thirds gear and will slot away nicely in your pocket or in a small compartment of a bag. It'll be one of those cameras that gives you peace of mind to know that should your existing Micro Four Thirds camera be lost, broken, stolen etc - that you have a perfectly usable replacement stowed away for such a day. I for one don't like the idea of heading into London with just one camera: It's a train ride away and I'd hate to smash the screen or damage something and not be able to use my camera and then have to head home.
Something like the E-PM2 would negate that risk. So, that out of the way: lets talk about the camera
The Specs
People always want to know about the headline specs with cameras, so I'll share them for you here. It is worth knowing though that sometimes it's not always about the on-paper details, but more about how well those features and specs are implements. What I would say is that in true Olympus style it's all pretty solid and very well put together:
- 16MP CMOS Four Thirds Sensor borrowed from the Olympus OM-D E-M5
- In-Body stabilisation
- ISO 200 - 25,600
- 3 Inch, Touch-Screen Display (non tilting)
- Up to 8 Frames Per Second
- RAW+JPeg Shooting Mode
- 35 Focus Points
The Build Quality
Plastic Fantastic. Yes it's mostly plastic, but the parts that matter are all metal: the Lens mount is metal and so it the standard hot shoe too: these are the parts of the camera that will get most of the heavy use in terms of fitting, changing and wear & tear. Well done to Olympus for taking care of the import parts at least. I would have liked to have had the entire body be aluminium, but of course that would effect price too and likely move this camera out of the price point it is competing at. It could have also made the camera heavier.
The rest of the camera, despite being plastic, does indeed feel very solid, much like I pointed out with it's older, more mature and mostly metal cousin the OM-D E-M5.
The lightweight yet-durable and tough plastics are used to contribute towards a lighter camera. The camera is a solid mass indeed and I feel no flex or movement in the camera. It has been truly well built in typical Olympus fashion.
The buttons themselves are a decent sized and wisely placed, with the exception of the Video button, which I found to be immediately underneath my right thumb when holding the camera up to shoot. I found that there was a lot of space along that part of the camera and the video mode button was in a place where it could be accidentally pressed. For me, I have very little issue with how it's built. It' a solid piece of equipment that is markedly better than the alternatives in this market and price range. The build quality and choice of materials from Olympus are important as it is those things that keep it as light as it is and at the cost it retails for.
Ergonomics - How does the E-PM2 feel in your hands?
I said when I reviewed the E-M5 that your view on how big or small the camera is will of course depend on you and your own hands. Everyone is different. Of course, some people will adore and love the size whilst others may prefer a slightly larger body that they can really wrap their hands around.
I personally think that the E-PM2 is a great size: that being tiny. It's not the camera I would take out with me as my first choice street photography camera or portrait camera, but that's only because I've come from the world of DSLR's with battery grips and am subsequently now using the E-M5 with a grip and will shortly be running with an E-M1 with a grip. These cameras are more comfortable to use because they are that little bit bigger to use. The E-PM2 has a small, but very useful and wisely positioned grips on the front and back of the body, making it feel less like an iPhone in shape. The small grip on the back allows you to comfortably rest your thumb whist the grip at the front sits underneath the fingers you've wrapped around the front of the camera and aid in grip. They do add a tiny amound of bulk, of course, but having said that, The E-PM2 is still unapologetically and intentionally small and that's the way it's supposed to be - that's it's selling point! This is clear by just looking at the 14-42mm lens that is included if you by the kit: The lens itself packs away as a smaller, shorter piece of glass but extends out and locks once you turn the zoom ring to activate the lens. The E-PM2 is all about it's small, compact size. You can keep the E-PM2 pocket sized by using the 17mm f/2.8 pancake or the minimal 9mm f/8.0 body cap lens.
The size, although maybe too small for some, is how it should be for this sort of offering if you ask me. I would rather carry around an E-M1 and an E-PM2, than two E-M1's! It lovely, little and light. But don't be fooled! It's capable too.
The Electronic Viewfinder (EVF)
There is no EVF included with the EPL2, however you can of course jump online and pick up the Olympus VF-4 for around £200. Again, this would clearly add bulk to the compact E-PM2, so it would be a matter of preference, particularly if you're planning on a purchase of something like this as a backup camera.
If however you are looking at the E-PM2 as your primary camera, I would seriously consider the purchase of the VF-4. Again, having used DSLR's for a long time and being very used to raising my cameras up to my eye to frame a photograph, I still find myself doing the same with the E-PM2, even though i know it has no EVF fitted! I then have to pull the camera away to arms length to compose my photograph on the back of the screen.
If you're more used to shooting with an iPhone or a Compact System Camera that does not feature a Viewfinder, perhaps forgo the purchase of the EVF for now but do head along to a camera store to try one out to see if you prefer it.
Naturally, holding the camera up to your face brings it in closer to your center of gravity and creates a more stable platform from which to make a photograph, compared to holding the camera out at arms length. Doing that will introduce camera shake and make for blurry photographs. I'll talk about the Stabilisation in just a moment on this camera.
The other advantage of an EVF of course is that it will help in bright and sunny conditions. Which brings us to the next point...
Touch Screen & Display
The touch screen featured on the E-PM2 is nothing short of fantastic, as it is on the E-M5. In fact, It's the same as far as I can tell. It could technically be different, but it's the same as far as my own eyes can see.
It maintains the 3", touch display. It's capacitive, meaning it responds in the same way an iPhone does, although it does not feature pinch to zoom. The screen can be used to swipe left and right through photographs you've taken, which is a nice feature.
Of course, without an EVF included the screen is your means of framing a photograph so it has to be good. I found the screen to perform well in bright sunlight on a day out in London.
The screen also repsonded very promptly too, which always helps. There is nothing worse than pressing the screen only to have to wait for a few seconds for a device or camera to catch up with what you've just asked it to do.
One thing Olympus have put in place, i believe with all of their touch-screen cameras is the ability to actually use the touch screen as a shutter button at the same time as selecting your focus point. On the E-PM2 this is particularly helpful, as of course the physical controls are limited, meaning the more you can do with the screen and without having to go into menus, the better
One issue I have found though is that because the screen on the E-PM2 is used for everything, it's always on. So, it does drain the battery a little quicker than I'd like. With a DSLR of course you'll find that you can shoot over 1,000 shots without having to worry about the battery life. I found with the E-PM2 I was shooting more like 300 photographs before I started to see the dreaded 'Battery low' indicator. Have no fear though, spare batteries are available from Amazon and Ebay for favourable prices.
Focusing Speed & Accuracy
Again, the E-PM2 feels much like the E-M5 in this respect and the speed and accuracy have become something that Olympus Micro Four Thirds cameras are renowned for. The E-PM2 does not fail on this either.
I found focussing to be ultra accurate. The camera seems to have a little bit trouble focussing in low light and so the contrast lamp (The small orange light) kicks in to try and help the camera find focus. This does work, but if you're bothered about the focus assist light, this may annoy you.
The E-PM2, again, like the E-M5 only has Contrast Focus Detect, meaning it favours the area in the scene where there is contrast and this is how it selects which focus point to use. What I would say about the Contrast Detect though is that historically, even with DSLR's using only Contrast auto detect - it was never a success: Accuracy was never quite as good as it should have been. However, Olympus have gone a long way to really pushing the Contrast detect technology to it's limit. Couple that with face detection auto focus and you're onto a winner. The focus accuracy is good and not something that should put anyone off.
Again, the auto focus accuracy is also helped by use of the touch screen. Just tap on the area of the screen you want the camera to focus on and it will snap in very quickly and then even take a photograph for you too!
With regards to focus tracking - it's average, at best. It does have continuous auto focus settings, meaning if you move, or of your subject moves you can continue to half-press the shutter and allow the camera to try and maintain it's focus on the subject. We should remember though that this is a compact interchangeable lens camera. It certainly isn't a feature in most / many pocket point and shoots, so having continuous auto focus in a body of this size and price should be seen as a bonus anyway, if you ask me. If continuous auto focus is something you're looking for, then you need to take a few steps up the range to get it from a camera that has phase detect as well.
With a good lens though, especially a solid prime lens such as the Olympus 17mm f/1.8 or the Olympus 45mm f1.8 - auto focus is snappy and the results are very pleasing.
Typically, Olympus implement things in a solid fashion and make sure things work well, even if it isn't ground breaking or new technology; Olympus put their magic to work and make these things really work well - the focussing speed and accuracy really is proof of this.
As I mentioned in my review of the E-M5 I tend to only use Single Focus Point and select where I want the camera to focus, but I have found most recently that using a zone of 9 auto focus points to cover a square inside the viewfinder (or, on screen) that 9.8 times out of 10 it will in fact choose the correct auto focus. I took the E-PM2 to Bournemouth for a family day out and found that it did a great job of finding the subject using this method. Of course, with the touch screen you may be best off just tapping on the screen where you want the camera to focus as it will then instantly make a photograph too. This method works particularly well for Street Photography.
Again, I must stress that with the E-PM2 the touch screen is probably the best way to go.
When it comes to using zone focussing (selecting a group of auto focus points and allowing the camera to choose from those points) I'm not convinced at all that my Canon 7D even focusses quite as accurately as E-PM2, even though the 7D is packing Phase Auto Focus as well! The 7D is a camera aimed at those looking to shoot sports and action, but only contains an APS-C. I would say that considering the E-M5 and E-PM2 are 'Only' running contrast auto detect on a MFT sensor, the difference in performance isn't as drastic as one may imagine.
Of course though, the 7D does track focus tremendously well and at this point in time I think it's safe to say (although this could chance in a blink) that the MFT format has some ways to go on getting there. Comparing the 7D to an E-PM2 is highly unfair, but I wanted to demonstrate how impressed I am with the focus accuracy of the Olympus.
Dials, Controls & Customisation
Something I sang the praises of when it came to reviewing the E-M5 was how you could change everything about the camera AND how you could change them with relative ease, making the dials and controls control whatever function you wanted.
Whilst you can adjust settings and Function buttons on the E-PM2 there really is only 1 dial, 1 shutter button and the function buttons, so there just isn't as much to be adjusted to your requirements. Menu navigation really is the order of the day with the E-PM2, so if you're shooting street photography or something in changing light conditions, you may want to opt for one of the priority settings, such as Aperture or Shutter priority. The E-PM2, whilst it does offer a full manual mode, feels clunky and a challenge to operate in full manual: It just doesn't have enough buttons or dials to dedicate to the settings you're going to need most when shooting manual: Aperture, Shutter Speed & ISO.
When you press the menu button, the first screen you're presented with is a sort of 'quick access' type menu, allowing you to delve into the deeper menus and advanced settings, or, to quickly change your shooting mode. I guess the best way of describing it is that when you press the menu button you're effectively looking at an on-screen mode dial so you can change from iAuto (Olympus' full auto mode) to Aperture Priority, Manual etc. I find that the menu is laid out logically and I was able to find everything I needed with relative ease. The most common settings are higher up the menus with some of the more obscure options a little more buried away.
In summary there is an evident lack of dials, which if included would make the camera far easier and faster to operate. If you find this a deal breaker, perhaps take a step up and have a look at the Olympus PEN E-P5. But, when you get to that range of camera you're now talking about a completely different price range.
But, as I said before - if you're looking to get involved with your first interchangeable lens camera, but aren't won over by a DSLR looking camera or find them too clunky, then this could well be the option for you. The full automatic mode is one of the best I've seen on any camera. It just works!
Image Quality
I couldn't review a camera without talking about the results it's capable of producing, of course! The E-PM2 is capable of producing amazing photographs in most light conditions. In good light it's stunning, in conditions where the light is limited, it's still excellent. When light is fading, pop the flash on and again it just continues to shoot great, sharp photographs. In low light the noise is fine, but focussing becomes an issue, as I mentioned before.
Here are some sample photographs made with the E-PM2:
The Olympus E-PM2 shoots RAW (which is the equivalent of a Digital Negative). If you are aiming to post-process your photographs in a program such as Adobe Photoshop or Lightroom, you can do so with ease and really push the RAW files around quite a lot. They're very forgiving and seem to be packed full of information meaning you can punish those pixels!
Again, if you're new to photography and are considering the E-PM2 as your point and shoot you may require certain software to open the RAW files, unlike a JPG or a PNG file. You can however download RAW viewers and even a RAW Photo Editor from Olympus. The best thing about that is: it's free!
If you would like any advice or help with software please do get in touch via email: michael@rammellphotography.com
With it's 16 Megapixel Micro Four Thirds sensor (the same as found in the OM-D E-M5) the results are very pleasing and even more so if you nail the exposure with Jpeg photograph. With a Jpeg, as you'll find in all good cameras, the camera itself applies some correction and sharpening to the file so the Jpegs coming straight out of the camera are excellent. So, if you're not serious to the point where you want to post-process your images: no problem, just shoot in Jpeg mode. You will be incredibly impressed by the quality of the photographs you produce.
Neil Graham said to me (after having borrowed my Olympus OM-D E-M5): "I don't know what the special sauce is that Olympus add to the pixels, but the files coming out of these cameras are excellent and very forgiving. They can take a lot of pushing and pulling in Lightroom or Photoshop. The files that come out of the E-PM2 are just as good.
For those of you less inclined to edit your photographs in some sort of post production, or for those who are disk space concious - the camera does of course have a series of JPeg size options ranging from Large, Fine & Small. Lowering the quality would allow you to fit more pictures on one memory card.
Olympus have also included 12 Art Filters as well, so if you don't have a copy of Photoshop or Lightroom - no worries you can apply filters and effects in the actual camera! These art filters include things like Black and White, Sepia, Pop Art, Soft Focus, Grainy Film and Push Process. These are similar in ways to some of the filters you're likely to find in may phone camera apps, or Instagram. If that's your thing.
High ISO Performance
One thing I should have declared at the start of this review is that when it comes to cameras I am far more interested in how a camera performs practically (In the real world) instead of lab tests. That, and I haven't got the patience to make the same photograph 10 times at different ISO's. All you need to know that the E-PM2 is good up to ISO3200, which is respectable. Of course, expose to the right a little and make use of noise reduction (for example in Lightroom) and you'll be able to get rid of some of that noise in no time.
Having said that, the noise you do get on the E-PM2, much like on the E-M5 is actually quite pleasing. With some DSLR's I've used the photographs can rapidly lose their sharpness at higher ISO's and show a lot of colour noise in the darker areas of the photograph. I've found that anything up to ISO 3200 is perfectly fine on the E-PM2.
The Price Point
You'll find the price on the E-PM2, as with most cameras will vary a lot depending on where you're buying from. The Olympus shop (through Amazon) sells the E-PM2 and 14-42 kit lens for £329.99 with free delivery. If you're looking at the Olympus as your main point and shoot then this represents fair value if you ask me. You get a lot for your money and at the end of the day the quality of the images coming out of the E-PM2 justify it's price for me. I don't see that as expensive for a half decent camera and the E-PM2 is more than half decent!
Alternatively, If you're considering the E-PM2 as a camera to drop into your bag and stay there as a backup, or if you already have an OM-D and you're looking for a backup to take your existing set of Micro Four Thirds lenses, then you could pick up the E-PM2 as a body-only deal from Park Cameras, where it sells for a bargain at £269.99 as of June 2014. Remember, in both of those prices you're getting a flash, an external battery and an external charger. Some other cameras, even in this price range, have a built in battery or worse - a battery that is charged when it's inside the camera!
The E-PM2 gives you lots of bang for your buck if you ask me!
Just for fun: E-PM2 shutter in slow motion
What is the intention with the E-PM2
It's all about size and compactness. The E-PM2, I feel, makes a few sacrifices in terms of controls and ergonomics to instead focus on being small. Because however this is both a success and intentional, it's perfectly acceptable. The EPL2 is NOT a replacement for an EM-10, E-M5 or the E-M1, but it certainly is a great companion! Note that it does NOT take the same batteries as an E-M5, meaning if you are buying this as a backup or as an ultra-convenient, yet powerful camera, that you may have to also spend some money on spare batteries too, especially considering the screen is what you'll be using whenever it is powered on to compose and check your shots and even to change most of your settings.
Would I buy one?
Yes, I would. I'm not going to for the moment though. Unlike with the E-M5 - it was not love at first sight with the E-PM2. The lack of dials made it a challenge for me to operate, because that's what I'm used to. I would say that was partially my fault as I felt inclined to use the camera on manual mode and that's not necessarily the best way to use this camera. Although it's perfectly fine using manual, it can mean if you're shooting in changing light conditions you may miss a shot whilst you change the settings using the menu.
The form factor and the fact that the resulting images are so fantastic are biggest plus points for me. The fact that you have something so small that will fit in your pocket, yet still allow you to make truly wonderful photographs is great. I'll admit I shoot a lot with my iPhone when I'm out and about; it's a capable camera, but you just don't have enough creative control with regards to Depth of Field or Shutter speed on the iPhone! So to justify carrying something dedicated to making photographs would mean the camera has to have all of those things and be in a neat and tidy package. The Olympus E-PM2 is exactly that!
My advice if you're going to buy an E-PM2 would be to pick up the kit from somewhere like Amazon or Park Cameras along with a spare battery and also a fast, sharp prime lens to go with it, for example the 17mm f/1.8. Any camera is only as good as it's glass and whilst the kit lens provided with the E-PM2 is capable, if you're a stickler for absolute quality then a lens is a worthy investment. I would also say that if like me you're exclusively a manual shooter, be prepared to give the priority modes a try (aperture & shutter), rather than persisting with fumbling around in manual. This camera is best at home when set to one of the priority modes or even full automatic, particularly in good light scenes.
As a street photographer I know all about the need to travel light and the EPL2 is a camera that will enable you to do so. It's not a professional grade camera in terms of it's build quality and handling, but it's not too far off it, which is impressive considering that the E-PM2 isn't designed for professional use. It makes amazing photographs, can make use of a selection of stunningly fast and sharp lenses from a variety of manufacturers (Olympus, Panasonic, Leica, Voitglander etc) and is small and light. The reasonable price also makes the E-PM2 a worthy investment, knowing that you can then also move up into more serious cameras later if (when) the photography bug bites you, such as the E-P5, E-M10, E-M5 and the top of the range E-M1.
