Another nail in the coffin of Canon/Nikon relative duopoly – Cactus introduces cross-platform radio remote TTL flash system

Written by admin on March 25th, 2017

Since the 1960′s, Canon and Nikon have enjoyed a relative duopoly in the world of system cameras, especially amongst professional photographers.

In the late 1980′s, Canon took the lead with their totally redesigned lens mount system allowing fast AF, and it is only in the last decade or so that Nikon has again taken the lead with their even better AF tracking and metering technologies.

But as Olympus has shown with their Olympus OM-D E-M1 Mark II camera, the advantages of the Canon and Nikon dSLR systems are rapidly being lost to ever improving technological advances, especially with sensors, AF and mirrorless systems which, particularly in the case of Micro Four Thirds, offer adequate image quality (often better edge to edge image sharpness) , smaller, lighter, less expensive kits more suited to our travel and hiking needs, more accurate and often faster AF, faster burst speeds with accurate continuous AF, much better image stabilisation, hand holdable super telephoto reach as well as better run and gun hand holdable 4K video.

Part of the successful marketing strategy of Canon and Nikon is keeping their users loyal to their brand – once they have invested into their system, much like Apple users, they are generally too heavily invested to swap brands or even to use other brands with different user interfaces or incompatibilities.

If you had, or wanted to use Canon lenses to their full capability, you had to buy Canon dSLRs, likewise for Nikon.

If you had a Canon system, you had to buy Canon-specific flash systems if you want TTL or remote radio TTL flash – likewise for Nikon.

Canon dSLR owners could use other lenses, even Nikon lenses but with sacrifice of fast AF.

Nikon dSLR owners could not use non-Nikon mount lenses due to a physical design issue – the distance from sensor to lens mount is too long.

Enter the new world of cross-platform utility

My last blog post espoused the potential utility of using Sony full frame mirrorless cameras with a Sigma MC-11 adapter which at last provides fast AF with most Canon EF mount lenses on Sony cameras, but in particular, the Sigma branded ones.

This allows photographers increased choice – they could get a mirrorless full frame camera with a different sensor characteristics plus sensor based image stabilisation and face AF for their Canon lenses with better feature sets at the same price as the entry level Canon 6D dSLR- seeing that Canon has not shown interest in creating such a camera.

Now, Cactus has massively increased cross-platform utility by announcing a free firmware upgrade to their Cactus V6 II radio remote control flash system, which allows Canon, Nikon or Olympus flashes to be used with most other brand cameras with either on-camera TTL or remote radio cross-TTL capability!

This is awesome, but wait, there’s more, the Cactus V6 II x-TTL also allows:

  • remote control of flash unit output, even below 1/128th level for ultra short, motion-stopping shots
  • automatic zoom level control of flashes
  • Super FP or HSS mode (but Pentax and Sony cameras need a brand-specific flash for this to work)
  • Power Sync mode to allow a faster flash sync without losing flash output as occurs in Super FP/HSS mode
  • two unique new flash exposure modes:
    • Flash Compensate – store a desired flash exposure that will automatically adjust according to changes in camera settings.
    • Flash Power Lock – lock flash power output after a desired TTL exposure is achieved, for consistency in repeat shooting.

See my wikipedia page for more information of remote control of flashes.

 And, of course, this also also fantastic news for Micro Four Thirds users who can now have radio TTL flash on their Olympus and Panasonic cameras – even with Canon flashes!

 

Value adding to your lens collection – can a Sony a7 II + Sigma MC-11 bring new life to your Canon lenses without breaking your bank?

Written by admin on March 20th, 2017

Choosing a new camera can really value add to your existing lenses and give them a new life.

The Olympus OM-D E-M1 Mark II Micro Four Thirds camera adds extra dimensions to your Micro Four Thirds kit by giving them even better image stabilisation, awesome C-AF at 18 fps burst rates with Pro-Capture option and the option of 50mp HiRes mode (albeit requiring a tripod and static scene).

Many of us have a collection of Canon pro lenses and an old Canon dSLR camera which needs updating to value add to these lenses – but which camera?

Sure, you could adapt them onto your Micro Four Thirds cameras but these Canon lenses are not optimised for CDAF, so you need an expensive Metabones adapter to get reasonable AF – and the capability will vary with each lens – some, such as the Canon EF 50mm f/1.8 II, Canon EF 100mm f/2.8 macro and one of my favorites, the Canon EF 135mm F2L lens will just not AF with a Metabones adapter – whether a straight adapter or a 0.71x focal reducer adapter.

You could buy a cropped sensor Canon dSLR, but unless you are into sports where the Canon 7D Mark II will be useful, the full frame lenses are just too big and poorly suited to cropped sensor dSLRs and Canon don’t make many pro quality lenses designed especially for their cropped sensor cameras.

If you have the money, the obvious choice are the superb Canon 1DX Mark II or the Canon 5D Mark IV but these are likely to break your bank at around $AU5000.

You see money is everything for most of us, if money was not an issue, we would probably buy a variety of best of breed cameras such as:

  • Hasselblad or Phase One medium format for landscapes and studio work
  • Nikon D5 or Canon 1DX with massive, expensive lenses such as a 600mm f/4 for sports or wildlife
  • Olympus OM-D E-M1 Mark II for everyday use and compact, light travel

But money is an issue for most of us, and so in the Canon full frame dSLRs at the entry level end we have the outdated Canon 6D or Canon 5D Mark III dSLRs, but although these will get you the full frame shallow depth of field and high ISO capabilities, these are not suited to sports, have an old sensor which has less dynamic range capability at base ISO than even the E-M1 Mark II, and in the case of the 6D in particular, has crippled functionality such as a shutter speed only to 1/4000th sec.

Can we do better at an affordable price? – Enter the Sony a7II

The Sony a7 mark II combined with the relatively new and affordable  Sigma MC-11 Canon EF lens adapter may well be a better option than the similarly priced older canon 6D IF you can live with a few major issues:

  • variable AF functionality depending upon the lens but unlike using the much more expensive Metabones adapter, the Sigma MC-11 adapter works really well with the Canon EF 135mm f/2L, so well, that it has made me consider the Sony a7II as a reasonable option! The Canon 50mm f/1.8 II works, but every time you turn the camera off and then on, the lens freezes, so you have to partly dismount the lens and mount, then turn camera back on to re-gain AF functionality.
  • terrible ergonomics – I am not sure what happened to all those Minolta camera engineers when Sony took them over, but, the Sony cameras are certainly not designed with the photographer in mind – if you think the Olympus menu system is confused and convoluted, Sony is worse, and with sometimes very strange  design options, and worse, the constant need to dig into the menu system for simple things such as switching from back button AF to half shutter AF modes, and unlike the Olympus, navigating the panel display settings is very clunky, plus for some reason, the EVF looks blurry even after adjusting the diopter, and countless other annoyances such as no button to switch from EVF to screen manually – yep, you guessed it – another deep dive into the menu system – if you can remember which screen its on! Plus, unlike Olympus, there is no context-sensitive help on the menus or the Scene modes (you just get a sometimes obscure icon).
  • did I mention terrible ergonomics?
  • did I mention the really loud shutter? – unlike Olympus, there is no silent mode – but at least your subjects can hear you taking the shot from 10m away!
  • cannot yet use Canon flashes in TTL mode – but they work fine in manual mode – thankfully, Sony got rid of the proprietary non-industry standard Minolta hotshoe! PS. the Cactus radio wireless TTL flash system is being updated in 2017 to allow Canon and Olympus flashes to work on Sony cameras and other brand cameras including Olympus cameras with full TTL remote radio wireless flash – but Sony and Pentax cameras currently require brand-specific flashes for HSS mode. AWESOME!
  • is not supplied with an external battery charger – what the??? You charge the battery via USB cable with battery in the camera – not very useful if tyou want to use the camera while the battery is charging! You can apparently buy one with a spare battery for about $100

What benefits does the Sony a7 II have over the similarly priced Canon 6D?

  • mirrorless – camera is smaller and lighter, 600g vs 770g
  • EVF instead of OVF means you can hold the camera to your eye for Live View including movies, plus, if you are like me and require reading glasses, you can get away without them by using the EVF for everything including diving into the menu
  • manual focus magnification with focus peaking in the viewfinder – fantastic for Tilt-Shift lenses which are otherwise difficult to focus
  • ability to use native Sony lenses as well as Leica M lenses – probably not a big deal unless you really want to invest in an essentially flawed design system -in my opinion, Sony made a mistake in designing the E-Mount sensor to lens flange distance so short and the mount diameter so narrow – sure it makes the cameras smaller, but that doesn’t help much on full frame as the lenses are gigantic, and furthermore, it cripples image quality with wide aperture, wide angle lenses and cripples the capabilities of a sensor based image stabilisation system – hence the Sony Steady shot IS is no match for the Olympus system, and according to the laws of physics is unlikely to ever be!
  • 24mp newer sensor with much better dynamic range compared to the old 2012 model 20mp sensor of the 6D
  • shutter speed to 1/8000th sec not just 1/4000th sec
  • 5 axis sensor based image stabiliser that works on all lenses (gives about 2EV benefit but requires compatible OIS lens for greatest benefit) vs NO sensor based IS on the 6D – or any Canon dSLR for that matter!
  • 117 PDAF autofocus points compared to 11 on the 6D which are all crowded in the centre
  • face detection AF even when used with Canon lenses – vs face detection only in Live View mode
  • eye detect AF with compatible lenses (not currently with the Canon lenses unless they are made by Sigma)
  • 1200 zone metering instead of 63 zone dual layer metering
  • flash sync 1/250th sec vs 1/180th sec – although my tests with Canon and Olympus flashes, the Sony a7ii only syncs fully at 1/200th sec – perhaps you need a Sony flash for 1/250th sec sync
  • 1.23m dot tilting LCD vs 1mdot fixed LCD (unfortunately, neither offer touch screen)
  • 1080HD 60p video vs 1080HD 30p
  • more accurate AF and much less need for AF microadjustment as the PDAF sensors are on the main sensor not located elsewhere and hence need calibration

Benefits of the Canon 6D over the Sony a7II:

  • similar interface to other Canon dSLRs, albeit a little crippled compared to its more expensive models
  • optical viewfinder for those who value such things
  • better batter life as no EVF
  • more reliable AF with Canon lenses but you are restricted to those 11 points in the centre, and you don’t get face detect AF through the viewfinder let alone eye detection AF
  • ability to use Canon flashes in TTL mode although the Cactus radio wireless TTL flash system is being updated in 2017 to allow Canon and Olympus flashes to work on Sony cameras with full TTL remote radio wireless flash – but apparently they can’t get HSS mode working at this stage!

Conclusion:

In the end, you need to work out which is best for you and the style of photography you do – both solutions are a long way from being ideal – they are both budget compromises – which compromise works for you – only you can tell!

For me, having an image stabilised Canon 135mm f/2L lens with face detect AF and ability to do Live View manual focus magnification with focus peaking in the viewfinder while using Canon Tilt-Shift lenses on the Sony with a better dynamic range and 1/8000th sec shutter for sunny days makes this a compelling choice for me if I were to purchase one of the two.

 

 

 

Olympus OM-D E-M1 Mark II + Olympus 300mm f/4 lens – just awesome for water-ski events such as Melbourne’s Moomba

Written by admin on March 12th, 2017

I come from a long line of broken Olympus promises when it comes to useful continuous autofocus capability.

Olympus have had C-AF and their even less useful C-AF Tracking modes in nearly every digital camera I have owned – C8080, E330, E510, E-M5 and E-M1 mark I – and sadly, they have all sucked when it came to continuous autofocus on a moving subject, although the E-M1 mark I was a big improvement. Even my super expensive Canon 1D Mark III dSLR AI-SERVO AF mode which was designed for pro sports photographers had sub-optimal AF in this regard.

So, you can see I am used to being let down in this area and was preparing myself for another disappointment.

The BIG C-AF TEST:

This weekend it is Melbourne’s Moomba festival and a big part of it is the water ski-ing championships on the Yarra River.

So now I have this opportunity to test out the new Olympus OM-D E-M1 Mark II flagship sports camera from Olympus with their truly amazing Olympus micro Zuiko Digital (mZD) 300mm f/4 OIS lens which makes a comfortably hand holdable kit for the whole day giving 600mm telephoto reach at f/4 aperture with over 6 stops image stabilisation – which may have been a factor in image quality given I was panning madly all day as if I was a tennis umpire.

I am not a sports photographer and this camera does allow a number of settings to allow you to optimise AF algorithms – I left these at their default value, but I did create an in-camera focus range limiter – a novel and unique functionality peculiar to this camera – you can effectively speed up AF and have it ignore the crowds in the background or any foreground leaves. I did find a weird quirk though – the C-AF Tracking mode seemed to ignore the focus limiter settings, so I resorted to C-AF which is almost certainly the thing to do with this camera anyway! You can rapidly disable the in-camera focus limiter by applying a lens based focus limiter – this was handy at times.

The other amazing thing with this camera is the insanely fast electronic shutter burst mode of 18fps with full C-AF, and you can also enable the Pro-Capture mode which I did at the end for the jumps as I lost sight of the skier behind the jump, but Pro-Capture ensures I did not suffer any reaction lag by capturing the 14 frames prior to pressing the shutter – this will be an essential feature for pros one day!

Thus, I shot all my shots in Aperture Priority metering at f/4, Picture Mode = Vivid (I probably didn’t need to do this to improve CDAF speed as for this work we are using the PDAF sensors), Silent Burst Low rate (18fps), with C-AF using the central 9 AF points (the full area seemed less reliable – I hope Olympus add a larger region than just 9 to choose from as getting your subject in this area is critical for AF success!). Depending on whether the skier was front-lit by sun, or backlit, I would adjust the exposure compensation a touch.

When the skier came along I just composed to have them in the AF region, then held down the shutter as I panned – almost no EVF blackout made this possible with a little practice and getting used to the skier’s rapid changes of direction.

At the end you do have to wait for the burst of RAW files to empty from the buffer before you can review them – I just used one card so I could more quickly review them in camera and delete the duds (there were many where the skier was well away from the AF region and thus out of focus – but that was my lack of skill not the camera’s fault). If I wrote a RAW to one card and JPEG to the other card, I would have had to separately delete from each card which would have been a big pain.

Firstly, will the camera C-AF ignore intervening foreground?

then passing behind a tree branch as I panned madly to keep up with him:

Well that was an unexpected awesome surprise! It worked!

Now, the hard one – a 1.5 sec sequence at 18fps with skier covering 50m camera-to-subject distance:

This sequence was shot in much lower light as dark grey storm clouds gathered and blocked the sun, but at least I didn’t have to shoot directly into the sun which could have made the AF more challenging.  This sequence is essentially straight from camera just resized for web.

Here is the 1st of the sequence of 25 shots all taken at ISO 800, f/4, at around 1/800th sec – perhaps I should have used shutter priority at 1/2000th sec and auto ISO:

The 15th frame, still keeping her in focus despite me panning away:

Preparing for her landing, 22nd frame, still in reasonable focus – I think the horizontal distance covered was some 45-50m from what the commentators said:

Yes! a safe landing, 28th frame, acceptably in focus – of all the 28 frames, only 2 were grossly out of focus, and they were mainly because my panning let the subject leave the AF region while the subject was coming towards me very quickly!

I don’t know about you but that craps on my Canon 1D Mark III and what’s more, the image quality in terms of subject sharpness was better than what a fellow I met there who shoots the event every year achieved using a Nikon D3S pro dSLR with a big, heavy Tamron 150-600mm lens which I am guessing is not as sharp wide open as is the Olympus lens, plus the old D3s only as 12mp not 20mp to play with as does the Olympus – but I presume it would beat the Olympus kit when the light faded, plus he had an advantage of being able to zoom out.

OK, I am satisfied – at last Olympus have a winner for sports photography, and the 18fps is really cool, plus being electronic, it doesn’t wear out the mechanical shutter mechanism! Just be prepared to weed through the images and discard those you don’t want, otherwise you will end up with 20-40Gb easily in an afternoon.

Now the technical stuff is addressed, here are some cool beginner shots:

You can click on these for larger size views.

In addition to applying some vibrance, and clarity in LR, the following have all been cropped as even with 600mm effective focal length, they were too far away – feel bad for the full frame guys trying to do this! This were at ISO 400, f/4 and around 1/2000th – 1/6400th sec. In retrospect, in bright sunlight, I should have used ISO 200 to get a tad more dynamic range and image quality, or used auto ISO and shutter priority at 1/2000th sec.

Attaching the leg rope for trick ski-ing:

Cool as she can be:

Somersault action:

Ooops, lost the rope – this is why 18fps beats 10fps – you get to capture action in more detail within the time window:

A B&W somersault:

This guy is obviously having too much fun on the jumps – Olympus mZD 40-150mm f/2.8 lens at ISO 800, f/4, 1/500th sec (I should have used f/2.8 not sure how it ended up as f/4 – perhaps I forgot to check it after changing lenses):

This lady nails it too – Olympus mZD 40-150mm f/2.8 lens at ISO 800, f/4, 1/1000th sec:

No major issues with rolling shutter from the electronic shutter and me panning horizontally with near vertical lines- Olympus has this well controlled although you can demonstrate it if you try hard.

Perhaps Canon and Nikon should be worried – how are they going to integrate 18fps into their sports dSLRs without really giving their mirror system and their mechanical shutters a real working out every time, not to mention the noise from the mirror slapping around!

And, don’t forget, I could have gone to a really insane 60fps with this camera if I didn’t need C-AF – Canon and Nikon could build a dSLR with this but you would have to resort to Live View and hold the camera away from your face to view the rear screen – not great for camera shake!

But if the Canon and Nikon guys are prepared to shell out $20,000 for their pro dSLR plus 600mm f/4 OIS lens, then they could get more background blurring, and shoot at lower light levels thanks to their lower noise at higher ISO – but then carrying this 7kg kit and a monopod around all day would be heavy work indeed! The E-M1 Mark ii plus Olympus 300mm f/4 gives same field of view with faster burst rates plus the option of awesome image stabilised 4K cinematic video and weighs only 1.8kg and costs around 1/3rd the price.

 I do though have a couple of firmware suggestions for Olympus:

  • create an alternate method of setting the in-camera focus limiter – entering a distance manually is not easy and takes a lot of trial and error work in estimating distances then testing to see if you are correct – surely an option could be to use the current focus position?
  • make another option for AF area selection – perhaps 25-59 AF points?
  • prevent C-AF Tracking from selecting subjects to track which are outside the AF Limiter range – although I suspect C-AF Tracking has a long way to go before it becomes really useful – I do remember once, this was almost useful on my Panasonic GH-1 if the subject was not moving too fast, but the Olympus cameras seem to lose the subject too easily and too randomly. My tip – don’t use C-AF Tr just use C-AF or if your Olympus cameras does not have PDAF, stick to S-AF.
  • add an AF adjustment distance option +/- x meters for scenarios such as the jumps where the camera will AF on the skis leaving the face a touch soft being perhaps 1-2m behind the skis – the ability to program in such fine control could come in handy although only for defined and consistent scenarios with shallow DOF. This would be similar to AF Micro Adjustment function but with a distance scale with 0.1m precision.
  • provide a delete option that deletes the image from both SD cards simultaneously, in a similar way the option to delete RAW and the JPEG on the one card is available.

Tips for using the new unique AF Limiter functionality:

One must set the AF Limiter range in meters via the menu system.

Although you could guess a focus range to use such as 10m to 50m and then test it to ensure your subjects will be able to have AF lock achieved.

There is a much more accurate way – use the other novel functionality – use the Preset MF mode to measure the distances accurately for you!

Set AF mode to PreMF and while in the settings mode, press INFO button, and then half-press shutter to lock AF on various distances, and for each, you will get a read out of the camera to subject distance with 0.1m precision – just what you need when shooting in an aquarium and you wish to ignore the dirt on the glass!

Put your AF mode back to C-AF.

Use the distances to dial into the AF Limiter menu settings (you can store up to 3 AF Limiter ranges).

To rapidly disable the in-camera AF Limiter (eg. you decide to shoot something different), you have several mechanisms:

  • turn it off in the menu – a little time consuming, or,
  • turn the lens focus limiter ON and this will over-ride the in-camera AF Limiter range, or,
  • set your sports shooting mode with AF Limiter ON to a custom setting, and normal mode with AF Limiter OFF to another custom setting, then you can just rotate the PASM dial to switch modes, or,
  • allocate AF Limiter to a function button which will allow you to choose which AF Limiter setting to use or to turn it off

Summary:

The world is full of millisecond events which all blur in our minds, or we just don’t notice, or perhaps just have an overall gestalt perception – this Olympus camera’s 18fps and 60 fps modes opens up this world – I never really noticed the skier losing grip of the rope during the somersault, my mind barely could take in the somersault itself as it was over and done with so quickly – but this camera caught that moment in time – you just have to be there and be ready – and with pro Capture mode you can even capture the milliseconds before you pressed the button – just awesome!

C-AF is finally there and works extremely well even at 18fps – I am impressed!

 

It seems Olympus has finally ditched manufacture of Four Thirds lenses to concentrate on Micro Four Thirds

Written by admin on March 11th, 2017

According to Four-Thirds.org and highlighted by dpreview.com, unsurprisingly, it seems Olympus has decided to discontinue manufacture of their superb range of Four Thirds lenses designed for Four Thirds dSLRs – which they stopped making several years ago.

The Four Thirds dSLR system was introduced 14 years ago and introduced many innovations such as telecentric lens design to optimise digital sensors, Live View, sensor based image stabilisation, and sensor cleaning, but it was their High Grade and Super High Grade Four Thirds lenses which drew many like myself to this system – these lenses were amongst the best optically corrected lenses ever made – for example, nothing that Canon had made came close to the Olympus ZD 7-14mm f/4 lens, and the Olympus ZD 50-200mm f/2.8-3.5 was more compact, optically better and with closer focus than what Canon or Nikon provided in the focal length range of 100-400mm for a full frame.

Alas, these lenses were often no smaller than full frame lenses and often not that much cheaper which meant most professionals quite rightly could not see the value in the system, while in the mirrorless world, these lenses were not optimised for CDAF which is the main AF technology used in most mirrorless cameras.

With the removal of the mirror, and the development of the far more popular and more compact Micro Four Thirds system, Olympus and Panasonic have a winner in their hands, and as could be expected, are putting all their R&D into this system – both having now given up on the ill-fated Four Thirds system.

New in-camera optical distortion correction technologies and the shorter sensor to lens flange distance has given the Olympus engineers more freedom to create smaller, lighter, more affordable lenses than their Four Thirds counterparts could ever be – albeit sacrificing optical distortion as a priority in lens design.

Olympus and Panasonic have already created a great range of Micro Four Thirds lenses, and Olympus has said it will now concentrate on developing new wide aperture prime lenses – to continue on from their 1st digital f/1.2 lens,  the superb Olympus mZD 25mm f/1.2 lens and the amazing Olympus mZD 300mm f/4 OIS lens.

There is a lot to look forward to, and I can’t wait to see what they come up with – perhaps a 9mm or 12mm f/1.2 for Milky Way astrophotography (Panasonic already have their superb 12mm f/1.4 and Olympus have a great ground breaking f/1.8 fisheye lens), perhaps a 100mm f/1.4 and a 200mm f/2.4?

 

 

Why two memory card slots are better than one in your camera – an important feature of the Olympus OM-D E-M1 Mark II and the Panasonic GH-5

Written by admin on February 24th, 2017

Most professional level digital cameras have two memory card slots instead of one – primarily as professionals cannot afford to lose all their money-making and goodwill making images in the unlikely event of a memory card failure.

The Olympus OM-D E-M1 Mark II and its new dual card slots:

The Olympus OM-D E-M1 Mark II is the first Micro Four Thirds camera to implement dual memory card slots.

As the camera is primarily aimed at still photographers rather than video, unlike the forthcoming Panasonic GH-5, only one of the SD card slots is super fast and compatible with the UHS-II standard.

If you wish to do 4K video or 60fps burst rate in RAW, you will need a compatible fast (“UHS class 3”), high capacity UHS-II SD memory card – not all work – check the compatibility – Olympus recommend Sandisk Extreme Pro SDHC / SDXC UHS-II Card or Toshiba EXCERIA PRO™ UHS-II SDXC/SDHC Card – see their compatibility tables here.

These cards are not cheap, for example a 64Gb UHS-II card will set you back around $AU200 and you can double that for a 128Gb card in early 2017.

The E-M1 Mark II offers various file saving options if you have 2 cards:

  • “Standard” will record to the specified card – allows movies to one card and stills to another card
  • “Automatic Switching” will automatically switch to the second card when the first card becomes full
  • “Dual Independent” will record to both cards according to the specified image quality setting assigned to each
  • “Dual Same” will record identical files to both cards simultaneously

This is set in the Menu under cogs:H1:Card Slot Settings:Save Settings for still and cogs:H1:Card Slot Settings:Movie Save Slot

The Dual options each have a sub option of whether or not you wish to have the ability to keep saving to one card even if the other card is full.

E-M1 Mark II play back options:

This is set in the Menu under cogs:H1:Card Slot Settings:Playback Slot.

Unfortunately this only gives you the option of slot 1 or slot 2 so the camera does not automatically “remember” your last playback slot that you can select by holding down the playback button while rotating the top right dial which could inadvertently lead you to accidentally deleting a RAW file in slot 1 thinking it was the jpeg file in slot 2.

Temporarily viewing images on the card which is not the default playback card:

  • press the playback button while rotating the top right dial and the screen will indicate which card slot it will use to playback
  • unfortunately, as mentioned above, this is not retained once you take another shot, playback reverts to the default playback slot

Advantages of dual slots:

Insurance against card corruption, damage or loss:

The ability to save 2 physical copies of your RAW files simultaneously via the “Dual Same” mode is critical for professionals.

Some insurance against accidental deletion in camera:

If you are using the Dual modes and you delete an image or erase the card or re-format the card, it does not delete the image on the other card – of course, you can change the playback to the second card and then also delete that image but at least that requires effort.

Faster saving of RAW+jpeg rapid burst:

The ability to save RAW files to one card and your jpegs to another card allows faster burst rate buffer clearance and possibly less playback “blackout” after a burst while all your images get saved. The E-M1 II does not have live view visual blackout after a burst but you will have slowed burst rates after a long burst until the buffer clears, and saving to two cards can potentially reduce this issue somewhat.

Ability to automatically save movies to the UHS-II card and stills to the second card:

Just set  saving option to “Standard” and then you can set the save slot for stills vs movie in that same menu area.

More capacity within the camera:

“Automatic Switching” allows the 2nd card to be used when the 1st is filled up (although you do lose the fast UHS-II capability with the second card slot.

Playback zoom when capturing RAW + small jpeg:

One issue with playback on all Olympus cameras to date has been that if you selected RAW+small jpg as your file save option, on playback, when you zoom in, you do not get to see the actual RAW captured detail, only the much less detailed small jpeg which in effect limits your zoom to perhaps 3-5x instead of the 10-14x to really check if your image is sharp.

Having the dual slots overcomes this as you can have RAW saved to slot 1 and small jpeg to slot 2 and when you playback slot 1, you view the full captured detail in all its glory and no longer have to wait until you get it on the computer to ascertain if it is sharp enough.

Ability to backup all images from one card to another in camera:

This is great if you are on holidays traveling the world and don’t have a mechanism to backup your images.

Just buy another SD card of same capacity but can be a slower, cheaper card, then in Playback menu, select Copy All and then choose the copy direction – make sure you get this direction correct – although it will not delete existing images on the destination card so that is a great safeguard!

Disadvantages of Dual mode:

The Olympus delete image option of simultaneously deleting the RAW and JPEG does not work if you are saving each to a different card.

It thus takes more than double the effort to delete an image off both cards or erase the two cards – you need to manually select the second card and then repeat the process, but perhaps this is a good thing!

You may accidentally delete an image from the wrong card if you forget the camera reverts back to the default playback card!

 My firmware suggestions:

  • add a 3rd option, “last viewed” to the cogs:H1:Card Slot Settings:Playback Slot so that one does not have to dig deep into the menu to keep your playback slot preference
  • playback zoom should have an option to view the RAW file rather than a small jpeg if only a single card is used for RAW+jpeg – this should apply to all Olympus cameras whether one or dual slot designs.

 

 

 

 

The never ending saga of photo image management workflows – how to best organise and manage your photos

Written by admin on February 18th, 2017

I have been battling this issue for years and it is not an easy one on many fronts:

  • First there is the issue of organising your photos so that you can find them again
  • Secondly is making sure you have your images backed up – preferably in at least two physically separate environments (and preferably on another location in case your house gets burnt down or you are burgled and your computer disks are stolen)
  • Thirdly is a workflow mechanism to generate the highest quality images you can extract from your camera
  • Fourth, is a workflow mechanism to post-process the images to your desired taste
  • Fifth, is a workflow mechanism to output an appropriately sharpened and resized image to your target, be it web or a printer

On this blog post, I will be looking only at the first 3 issues and will be discussing what I have found on my Windows machines – I don’t use MacBooks and these have their own issue with hiding where they keep your photos and the Time Machine backup process becoming corrupt – when was the last time you backed up your Time Machine onto new drives kept elsewhere and how old are the drives in your Time Machine? I prefer manual back up methods so I know it is done and where they all are.

Digital photography has made many aspects much easier BUT it is also much easier to lose lots of your photos if you are not careful and take steps to back them up safely and securely – remember too that hard drives and USB sticks and memory cards all have a finite life – you do need to constantly create new backups on new drives!

We are often our own worst enemy in backing up – a few years ago I had thought that I had backed up several month’s worth of photos from my computer before I replaced it only to discover a year later there are no backups and the originals were all deleted and the computer and drives sent to the rubbish. OUCH!!! YOU MUST KEEP AT LEAST TWO COPIES ON DIFFERENT DRIVES!

I have heard of people backing up their RAW files to the Cloud and that is all and good as an additional measure if you have fast internet and you don’t mind paying an ongoing subscription to store them there.

Disclaimer: There are many options for your workflow, this is just one that is sort of working for me but it may well be too complicated for your needs and you may wish to  simplify it or use something totally different – either way it may highlight a few issues of which you may not be aware.

If you don’t really care about your image quality, just shoot jpegs, copy them to your phone, then upload them into Instagram, apply some image degrading “filter” and post online like most other people – if the content is interesting, the 1 second that people look at your small web image, they hopefully won’t notice the poor post-processing.

The Adobe Lightroom approach:

I have used Lightroom for a few years having given up on Adobe Photoshop when Adobe decided you must have an ongoing monthly subscription payment to use it, and I figured that as I try to get everything as best I can in the camera and I am not a “digital artist”, I can get by without the extra benefits of Photoshop such as layers, etc.

For newbies, Lightroom is a weird beast – unlike most software packages where you can just open a file, view it and edit it, Lightroom forces you to:

  1. create a “Lightroom Catalogue” – a folder system in which is stored your edits and previews
  2. “import” your photos into the catalogue – doesn’t actually store your photos in there, just thumbnail previews and any edits
  3. make a local copy of your photos during import if your folder from which you are importing your photos is a “removable medium” such as a memory card (whether it is external or internal), external USB stick. Lightroom will actually also automatically copy all the photos into a new folder on your computer, by default, in your Pictures folder under the year of import – this is a massive pain if you are using a laptop with minimal free hard disk space! Wouldn’t it be great if Adobe would just put an option in there as to whether or not you want to copy files during import?
  4. use the LR Library folder directory to view you photos inside Lightroom at a later date, you must go to the “Library” section, find the original drive and folder where it was imported from (or to). If Windows has renamed the drive for an external drive, or you have copied the photos to a different folder, you need to right click on the now disabled Library folder highlighted with a ? and select Find Missing Folder and then re-allocate it the new folder location.

The advantages of this process in Lightroom is that for users who have plenty of space on their computer’s hard drive, they can consolidate all their photos in one place and have them catalogued and easily searched using keywords, etc.

The disadvantage is that the catalogue itself can quickly become huge and risk corruption (hence LR reminds you to back it up via its own backup system) or running out of memory. For users who use external hard drives to store their photos, they may have to constantly go through the Find Missing folder process.

A disadvantage of Lightroom for Olympus users is that the RAW conversion within Adobe products requires a lot of sophisticated tweaking to get a similar output as the Olympus camera or Olympus Viewer software in terms of the much lauded “Olympus colours”.

If you are using a new camera such as the Olympus OM-D E-M1 Mark II, you may need LR6 or LR CC to be able to read and edit the RAW files, or you can download the free Adobe DNG Converter and convert them to DNG RAW files which LR5 will read, or you can use Olympus Viewer 3 to convert them to TIFF files.

A solution to getting “Olympus colors” in LR is to initially use Olympus Viewer 3 (a free download) to edit your RAW images (ORF files) and then export them into 16 bit TIFF files which can then be further processed in Lightroom. BUT Olympus Viewer is slow and has a few issues you need to beware of (see below), and the TIFF files are HUGE 88Mb for 16mp shots and 118Mb for 20Mp shots.

A virtual drive to the rescue   …. or not:

A solution to this last issue which I have come up with, is to create a virtual folder using Truecrypt (this is no longer supported but you can download Veracrypt for free to access the Truecrypt files or create Veracrypt versions).

There are two advantages to using Truecrypt/Veracrypt:

  • you gain control over which drive letter gets assigned when you mount the file as a virtual drive
  • by default, the files are encrypted so thieves won’t easily get access to all your family pics

A recent problem I have ran into is that Windows 10 Anniversary Edition – yes that lovely new version Microsoft forced upon us – does not play well with these virtual drives – even when you nicely close them down (dismount) before closing Windows – I was getting regular file corruptions, even without Windows closing, but just on dismounting the drive, and running Windows chkdsk just deleted these files and all my photos (lucky I keep back ups elsewhere!).

I seem to have remedied this corruption issue by selecting the “Mount as Removable Medium” in the Veracrypt mount options (although corruptions and file deletions still occasionally occur so keep an up to date back up!) BUT now if I import photos from within these virtual drives into Lightroom, it insists on creating copies of every photo onto my laptop hard drive with minimal free space.

My laptop does have a microSD slot in which I have a microSD card to provide additional “hard drive” memory but as it only has one USB port, to get my photos from my camera’s SD card onto a Truecrypt virtual drive which resides on a USB external hard drive, I must first copy them to the microSD card, then remove the SD card reader and attach the USB hard drive, mount the virtual Truecrypt drive but this time not as removable medium (keep my fingers crossed it won’t be corrupted by Windows 10 on this episode), copy the photos from the microSD card to the virtual drive, then run Lightroom and create a new Catalogue saved to the virtual drive, and then import the photos from the virtual drive. Close Lightroom, dismount the virtual drive, then remount it with the Removable Medium option checked and then all should be well.

Now, of course, I could have opened Lightroom after attaching the SD card reader and SD card, Lightroom would have detected the card and offered to import the photos and possibly I could have changed the destination folder for the copies to be the microSD card – but 1. I don’t trust LR to do this and not miss copying some files, and 2. after I copied the microSD card photos to the virtual drive, I would have to do the Find Missing Folder process again.

Once I am happy that I have all the photos securely copied, I then make a copy of the dismounted Truecrypt file onto another hard drive – but these files can be quite large depending on how large you want them to be – for example if I shoot 200 RAW shots with large jpegs and I need space for processed TIFFs etc, then I may select 20-25Gb as a FAT32 encrypted file. Don’t forget your password to mount the file!!

One disadvantage of this is that you fragment your “library” into multiple smaller catalogues but to me the advantage of keeping your LR catalogue data together with your photos on the one drive and your catalogue remains small and manageable, outweighs this.

The Olympus Viewer 3 approach:

Olympus Viewer 3 is free to download for registered purchasers of Olympus cameras.

When I first used it to convert my RAW photos to TIFF I was shocked at the poor quality – lots of smudged image details on pixel peeping which I was not used to seeing in my Adobe RAW conversions.

I then discovered something which had not occurred to me – the TIFF export process in Olympus Viewer 3, although it has a few basic options in the dialog box, doesn’t warn you that, by default, the TIFF file it is going to create will be based upon the camera settings when the RAW file was shot – so essentially it is going to make a TIFF file version of your jpeg settings – and if you are like me who uses Vivid Picture Style or other styles to gain faster AF, these will, by default be applied to your TIFF file.

Thankfully, OV3 allows one to change all of these settings and then even save them as a settings file which can then later be applied to a batch export.

So, I set Picture Style to Natural (or you can choose Portrait for perhaps a little more dynamic range and less contrast), turned OFF the noise filter, Gradation normal, Contrast 0, Saturation 0, and set Sharpening to minus 2.

In addition to the saved My settings file, you can create a Batch Processing Settings File with your preferred parameters:

  • in the main OV window click on a RAW file and INSTEAD of clicking on the RAW icon, click on the EDIT icon
  • this will take you to a different RAW edit window – ensure your processing settings are as you would like them
  • select from the menu, [Edit] then [Save batch Editing File] and then you can save this file for later use in the Export dialog under Advanced Settings

My lovely TIFFs were back again without any over-processed digitized artefacts, and all ready for me to play with them in Lightroom.

You can also use the OV Export function to create resized jpegs with your Olympus colors – just change the Export dialog settings accordingly, but in this case you may want to create a special batch processing file that applies some sharpening, etc.

Olympus Viewer also copies versions of your images to a cache folder on your hard drive – so if you are space challenged like me, make sure you clear the cache every so often! See Tools:Database:Clear Cache.

Summary workflow:

  • Copy RAW files to computer drive (if you don’t wish to take the SD card out of your camera, you could use a USB cable and OV or LR will copy them across to the hard drive for you but this will be a slower option if your camera or computer is only using USB 2.0 instead of USB 3.0)
  • Open Olympus Viewer and select the folder, then press Ctrl-A to Select ALL
  • Click on RAW icon this will open the RAW Development module
  • If you have already saved your favorite development settings in a file, use the My Settings to select that file and the settings will be applied to all of your RAW files you have selected.
  • Click on the Export button and set destination, 16 bit TIFF, etc in the subsequent dialog box then press Save to export the files – this will take some time.
  • Then the 16 bit TIFF files can be imported into Lightroom or whatever software you wish to use.

Other RAW conversion options:

There are a number of software packages available which you can use to convert your RAW photo files into TIFFs or jpegs.

Perhaps the best for Olympus users is Capture One Pro but this will cost you 279EUR + VAT if you live in Europe. It is said to give colours close to the “Olympus colors” and is faster and has more editing tools than are available in Olympus Viewer.

Photographers will all have their own personal likes and dislikes with each of these packages.

See my wiki page for more info on these for Olympus users.

 

Canon announce a new mirrorless camera – the Canon EOS M6 – essentially an M5 without EVF

Written by admin on February 15th, 2017

Canon have just announced a curiously named budget mirrorless camera – the M6 which is a cut down version of the M5 as there is no viewfinder built-in – but at least it is optional (a non-tilting 2.36Mdot EVF-DC2) – in a similar manner to the Olympus PEN series.

It is similar to the Canon EOS M5 but without the EVF, and instead offers flip up self LCD screen, and an additional dial on the top plate to make it more ergonomic.

Like the M5, it offers an “electronic version of 5 axis image stabilisation in combination with lens OIS” – BUT this only works in video mode and should not be confused with the sensor shift 5 axis image stabilisation offered by Olympus, Panasonic, Sony, and Pentax.

It will be available April 2017.

Specs:

  • 24mp APS-C sensor
  • Dual Pixel CMOS AF with Phase-detection on sensor
  • 7fps (9fps with AF lock)
  • shutter speeds 30sec to 1/4000th sec
  • flash sync 1/200th sec
  • exposure compensation limited to ±3 EV
  • AE bracketing limited to ±2 EV
  • built in flash GN 5m at ISO 100
  • DIGIC 7 Image Processor
  • 5 axis electronic IS which will work with lens based optical IS – “Combination IS system” BUT only works in video mode
  • 1080HD 60p video 35mbps (24mbps at 24p)
  • stereo mic
  • 3″ 1mDot TFT touch screen tilts up 180deg and down 45deg
  • smartphone remote control via Bluetooth
  • WiFi, NFC
  • USB 2.0
  • SD card slot
  • NOT weathersealed
  • Canon EF-M lens mount
  • 343 g (0.76 lb / 12.10 oz)
  • 112 x 68 x 45 mm (4.41 x 2.68 x 1.77″)
  • RRP $US780 body only

They are then offering this with either a EF-M 15-45mm F3.5-6.3 IS STM lens or a EF-M 18-150mm F3.5-6.3 IS STM lens – both disappointingly f/6.3 lenses but presumably designed to be as compact as possible for an APS-C camera.

It seems Canon is still struggling to catch up with the technology offered by its peers such as the far more affordable Panasonic GX850/GX800 which also has a selfie mode with flip up screen and in addition has 4K video not just 1080HD video, or the Panasonic GX85/80 with built-in EVF, 5 axis IS, 4K video and weathersealing.

More information on the Canon EOS-M mirrorless cameras and lenses on my wiki page.

Canon, I am still waiting for true sensor-based 5 axis image stabilisation, and preferably in a mirrorless full frame camera!!!

 

Could the Olympus OM-D E-M1 Mark II be the most versatile and accomplished camera ever made?

Written by admin on January 31st, 2017

Now that is a big claim, but after having a considerable hands on with this flagship Micro Four Thirds mirrorless camera from Olympus, I am starting to think it may well be.

The Olympus OM-D E-M1 Mark II may not be the best in class of every single feature, but, it sure has so many features in a compact, light camera that the overall capabilities will address nearly every need with adequate service, and it has some amazing features which allow unprecedented tools to allow you to capture moments of time with accurate focus and incredible speed.

The original Olympus OM-D E-M5 revolutionised the mirrorless camera world by bring all the main pieces together in a compact, light package – nice EVF, excellent IS, good image quality, good retro looks but it had one great deficit – inability to AF on fast moving subjects. The E-M1 mark I was a step in the right direction at addressing this with the introduction of sensor based PDAF, but it is really the E-M1 mark II that finally addresses this shortcoming and builds upon it in many ways – birds in flight are now within the reach of those carrying small, light kits.

Let’s have a look at the feature set.

Take anywhere camera and great for airline travel

A camera is of little use to you if you don’t take it with you.

The compact, light size of the camera and lenses mean you can take a camera and flash in jacket pockets or even a larger hand bag to social events, and the size won’t draw too much attention, and won’t be as intimidating as a larger dSLR.

You can carry a couple E-M1 cameras and a few lenses on cabin luggage and still be well under the usual 7.5kg cabin limit.

A friend of mine last week was boarding an international flight with business class ticket and the airline refused to allow his camera bag as cabin luggage as it was too heavy, and forced him to put it through check in luggage – that was the last he saw of his $20,000 full frame camera gear – and not covered by his travel insurance!

The small size of the Olympus also means you can have lighter and less expensive tripod heads – if you need a tripod!

Unobtrusive and silent

The lack of a mirror means the camera is far less noisy than a dSLR, and in its default mode is very quiet, but can be made silent by choosing the electronic silent shutter mode. In addition, most of the lenses are near silent during focus. This means they are great at classical music concerts, the ballet, weddings, etc.

Silent mode can automatically turn off AF beep, AF illuminator and flash mode.

A dSLR needs to be put into cumbersome mirror lock up mode to have any chance of getting as quiet as this, but then you are forced to use a bright rear annoying LCD screen instead of the viewfinder.

Even heavy rain will not stop you

With perhaps the best weathersealing in the business, one can be confident shooting with it in the rain – as long as the lens is also weathersealed as well!

Although Olympus do not recommend getting it wet unnecessarily, it will survive a bottle of water being poured over it – although one should protect the hotshoe pins and ensure all seals are in place.

Image quality

Smaller sensor cameras such as the Olympus will not match the latest full frame sensor image quality in terms of high ISO image noise and dynamic range, but the E-M1 II is sufficiently high in image quality for most purposes and at low ISO levels, where it will mainly be used, surpasses the full frame dSLRs such as the Canon 6D and Canon 5D Mark III in terms of dynamic range.

If one needs depth of field then the E-M1 II can potentially match these full frame dSLRs by being able to use 2 stops wider aperture and thus shoot 2 stops lower ISO which negates the advantage of the full frame cameras.

Furthermore, the superb, class leading image stabilisation combined with wide aperture lenses mean it is rare to need high ISO levels, and allows much longer shutter speeds hand held than any other camera currently available.

Image quality is not just dynamic range and sensor noise, optics are a critical component, and the smaller sensor allows more affordable high quality lenses with better edge-to-edge image quality, and less softening away from the centre than many full frame lenses.

When one needs high resolution 50mp images, the E-M1 II has a sensor shift multiple image technology which allows 50mp images to be obtained – this does require use of a tripod and is only for static scenes. An alternative approach to high resolution images is by use of panoramic stitches.

Camera shake is a critical element which impairs image quality and comes from 3 main sources:

  • hand held camera shake – here the E-M1 II is class leading in preventing this – one can carefully hand hold a wide angle lens down to more than 2 seconds with acceptable results!
  • mirror slap – this only occurs with dSLRs, and not with mirrorless cameras such as the E-M1. For best results on a dSLR, you need to use a tripod and mirror lock up – very cumbersome and clunky indeed
  • mechanical shutter shake – most modern cameras including the E-M1 II allow 1st shutter to be electronic to avoid this issue (these are the diamond “AntiShock” or silent heart shaped settings on the E-M1′s drive modes)

Bottom line – the E-M1 II will give better image quality than your old 35mm film, and be competitive with some full frame dSLRs, and easily beat the image quality of my $5000 Canon 1D mark III pro dSLR of 2007 which was at that time Canon’s flagship sports dSLR. For most uses this is plenty image quality – for those that need more then a a heavy, super expensive medium format digital system will be even better than the big, heavy Sony a7R II or Nikon D810 full frame dSLRs – its just a matter of how big, heavy and expensive you can manage.

Ask yourself, are all those wonderful, famous images over the past 50 years taken with manual focus 35mm film cameras at f/8 with nearly everything in focus, no longer great photos because their “image quality” is not as good as a modern full frame dSLR or E-M1 Mark II – of course not!

Don’t get too hung up on pixel quality – there is far more to a photograph than just pixels!

Capturing the moment

No matter how good the camera’s image quality, it is useless if it gets in the way of you capturing the image or does not have the tools to allow you to capture the more difficult shots.

The E-M1 II has these tools a plenty.

Mechanical shutter speed to 1/8000th sec.

Electronic shutter speed to 1/32,000th sec!

Burst rates to 18fps with continuous autofocus and up to 60fps with AF only on 1st shot.

Shooting an unpredictable fast moving scene such as a bullet passing through balloons, or a lizard’s tongue capturing an insect – no problem – just use pro-Capture mode!

Pro-Capture mode allows you to capture a set number of images at a user predetermine frame rate from the moment you half press the shutter to the moment you press the shutter, and then continue capturing a user determined number of images after the shutter is pressed. This can be achieved in full electronic silent shutter mode.

This addresses the issue of human error due to human reflex response times and eradicates any shutter lag issues – of course it helps if you have focus locked already.

Now you could fill up your memory card by shooting at 60fps and save up to the last 14 frames prior to full shutter release and then a set amount up to 99 or an unlimited amount after the shutter is fully pressed.

Depending upon your subject and needs you may prefer to shoot at 15fps and capture only 5 frames prior and 10 frames after – it is very customisable and unlike most other cameras with this new feature – you can shoot in full RAW file type not just 4K jpeg with images extracted from a 4K video stream.

Even if this was introduced on a dSLR, I just couldn’t imagine the dSLR mirror flopping up and down at rates faster than 15fps – and it would sure be noisy!

Unprecedented high image quality hand holdable telephoto reach

Matched with the brilliant Olympus mZD micro Zuiko 300mm f/4 OIS lens and Dual IS giving 6.5EV image stabilisation and superb image quality with incredible resolving power, the possibilities are endless – the lighter weight, weathersealed kit will allow you to carry it further into the jungle and you can get away with not bringing a big heavy tripod along.

This is just impossible with a full frame dSLR and if you wanted 600mm telephoto reach you are paying a lot more money and carrying a lot of heavy gear – unlike the Olympus kit, you won’t get that on cabin luggage!

Fast, accurate focus with many tools to assist in focus of difficult subjects

This topic deserves a lot of in depth analysis so I will do this in a future blog post.

In short though:

Ever since the Olympus OM-D E-M5 was introduced, Olympus took the lead over dSLRs for fast, accurate autofocus on static contrasty subjects, and the E-M1 Mark II has extended this. Unlike dSLRs, there is no need to calibrate each lens for accuracy. To see how fast and accurate these Olympus cameras are, you can resort to the rear touch screen mode  where you can touch a subject on the screen and almost instantly, the camera will AF lock on that subject no matter where they are in the frame then immediately take the photo – and this speed is capable with many Micro Four Thirds lenses.

The Olympus cameras also have featured a very handy, accurate closest eye autodetection autofocus feature which allows you to capture the subject’s closest eye in focus no matter where in the frame it is – as long as you give sufficient time (usually much less than 1 sec) and the subject’s face is visible to the camera and not moving too much. Great for static portraits! This is not possible with most other cameras, and the only dSLR that can do this, the Nikon D750, only allows it for when the eye is near the centre of the frame where the AF points are located.

These mirrorless cameras have AF sensors spread across most of the image area unlike dSLRs which tend to only have AF points near the center, means you have more versatility, and speed in locking AF when the subject is off-center – and who really wants their subject in the center?

Release priority settings allow user to set camera so that one can hold the shutter pressed but it will only take the shot when a AF lock is acquired  – a very handy technique.

In situations where AF can be difficult, one can set the camera to use rear-button autofocus lock and disable the half-press shutter AF lock – this allows you to obtain AF by pressing the rear button and then just wait until the moment you want to capture occurs.

If one has to resort to manual focus, these OM-D cameras also allow image stabilised magnified view through the viewfinder or on the LCD screen as well as focus peaking option which highlights the area in focus. In addition, even in magnified view mode, the shutter can be allowed to half-press to AF lock on the magnified view area! (“LV Close Up Settings” under D2 menu). The MF assist functions of magnified view and focus peaking can be set to automatically temporarily activate when MF ring is turned. I person prefer to manually activate the magnified view by allocating it to a function button.

If you have ever tried manually focusing a tilt-shift lens in an optical viewfinder of a dSLR, you will appreciate how useful these tools are!

In addition, most of the higher end lenses have a MF clutch mechanism which not only allows rapid selection of MF instead of AF, but gives a better MF ring experience with end stops and MF distance scale. Many of these lenses also have a Lens Function Button which can be programmed to do various jobs such as halt AF temporarily when the subject goes out of the frame.

Furthermore, there are instances where you want even more depth of field – the latest OM-D cameras, including this one, have both manual focus bracketing and automatic in-camera focus stacking modes to allow a series of shots with user customised focus settings to combine photos of a close subject, mid subject and distant subject to give an overall sharp in focus image – this is particularly useful for macro work to get the whole subject in focus, and also for close up wide angle landscapes.

In addition, the E-M1 Mark II takes the photographer far beyond this capability with the following tools:

  • PDAF sensors for faster moving subjects – although not quite as fast and reliable as the latest Nikon sports dSLR, but impressive indeed for a mirrorless camera and adequate for most users and even birds in flight which is notoriously difficult. Birds in flight is now “easy” see comments on this blog.
  • User customisable in-camera focus range limiter - this is an awesome unique tool – user can set the closest focus and the most distant focus which the AF system will range through trying to find a subjevt to lock onto. Not only does this speed up AF lock acquisition, but can be used to ignore distracting foregrounds or backgrounds such as wire fences, windows, foreground foliage, etc. It will work with all Micro Four Thirds AF lenses and on my testing, works with both Panasonic and Olympus Four Thirds lenses but not with Canon EF lenses using the Metabones adapter. Current dSLRs have to settle for the much less useful lens based focus limiters which only have 2 or 3 set ranges.
  • C-AF tracking algorithm parameters can be customised in a similar manner to sports dSLRs eg. AF scanner mode, C-AF lock sensitivity setting
  • Preset MF allows one to be in MF mode with focus set to a user set distance (easily set by using AF or magnified MF beforehand), and then potentially, use the rear button to AF on another part of the scene, then quickly reset back to the preset MF distance ala focus pulling method of video work – this could be very handy indeed!
  • AF targeting pad – the rear LCD can be swiveled out and used as a touch screen to select the AF point while viewing the image through the viewfinder – awesome for off-centered subjects, and as the screen can swivel out, your nose wont accidentally move the AF point. One can set Fn1 button to reset the AF point to the center point.

Exposure and previsualisation tuning tools

Modern cameras are amazingly sophisticated in getting exposures what they think is optimum for a given scene – they access a massive database of similar scenes to determine the best way to set exposure. If they detect a face, they will tend to expose for the face and ignore the background.

The OM-D cameras take this further thanks to their electronic viewfinder which, unlike the optical viewfinders on dSLRs, allows:

  • WYSIWYG view – if you adjust exposure compensation to under-expose, the view will change to be darker to reflect this change
  • exposure aids such as Live Histogram and Highlight/Shadow warnings which are extremely useful in determining where in the image the image will end uo featureless and blown out unless you adjust exposure. If you use spot metering, this area displays on the histogram in green.
  • pre-visualisation aids such as WYSIWYG monotone or picture styles, image aspect ratio, Colour Creator, white balance, ART filter effects, keystone adjustment as well as visually compose your 2 frame multiple exposure which would be very difficult with an optical viewfinder!
  • Live Boost for darker scenes or when using flash as a main light source
  • “optical viewfinder mode” – attempts to give a more natural view without the WYSIWYG feature or Art Filters or picture style effects
  • grid overlays such as rule of thirds
  • dual electronic level overlays
  • keystone compensation

High level of customisation

For better or worse, the Olympus cameras have an incredible amount of customisation possible which can be very confusing to the newbie (the newbie can always resort to iAUTO mode).

Nearly every control can be allocated different functions depending on the user’s needs, and with the E-M1 Mark II, these can now be stored in one of the 3 custom settings and selected on the top right PASM dial as well as saved to a PC and reloaded from a PC.

An example – the “2×2″ lever which normally allows the twin dials to gain different functions, can be re-allocated to be the POWER ON-OFF switch while the named power switch is disabled – very handy indeed for those wanting just right handed operation of the camera.

No need for your reading glasses!!!

Us older guys who need reading glasses to operate dSLRs can survive very well without them using the OM-D cameras.

You can see all the main settings at a glance in the EVF by pressing the OK button and then can adjust any of them.

You can visualise a playback image through the EVF and even magnify it.

You can visualise the full menu system in the EVF and adjust any parameters.

When using my Canon 1D mark III dSLR, I have to take my reading glasses off to take the shot looking through the viewfinder, and then put them back on to playback the image, change the menu, or view the top LCD screen – and this constant swapping is extremely frustrating and risks breaking the glasses and losing the shot and losing your interaction with your subject who then thinks you are inept.

High resolution “scans” of film

Gone are the days where you need to buy an expensive, slow film scanner to digitize your negatives and slides.

Set the camera up on a tripod with a macro lens, and a light source beneath your film (eg. an iPad with a diffuser).

The articulating rear screen makes ergonomics of macro work so much easier and the magnified view makes accurate manual or auto focus a breeze.

If you want high resolution 50mp jpegs / 64Mb RAW files, just turn on the High Resolution mode.

Very nice hand held “run and gun” video

In addition to the now standard 1080HD video, the E-M1 Mark II sports high quality 4K 24/30p video, but perhaps more importantly, the class leading image stabilisation works extremely well in video mode so that you can get away without having big, heavy tripods or stabilisation rigs.

The forthcoming Panasonic GH5 will provide even better 4K video quality, but for most people, the E-M1 Mark II’s video will suffice.

Easy to use flash:

PC sync port as well as a flash hotshoe.

Olympus flash units are generally more simple to use than Canon or Nikon flashes, and of course there is remote optical TTL flash (“RC mode”) as well as high speed sync modes (“Super FP”) and flash sync is a nice fast 1/250th sec – better than most full frame dSLRs.

In the studio setting, or darker indoors when using flash as you main light source, you can use Manual exposure mode (but still with automatic TTL flash if desired) and have the viewfinder automatically change from a the usual WYSIWYG ambient light mode (which will appear too dark if your manual exposure is set to grossly underexpose the ambient light) to a more useful optimised view mode.

Unfortunately, Olympus in their wisdom has added a 5th hotshoe pin in the last few models to accommodate a power supply to certain flash units. This means one can no longer safely just attach a Canon style flash unit as I suspect the flash unit may not appreciate the power supply. HOWEVER, by using the PC sync and manual flash exposure, one can achieve fairly even scene coverage at shutter speed of even 1/500th sec which will be very handy for outdoor sunlit shooting.

Smartphone WiFi wireless remote control

This is very cool indeed – the ability to remotely see the live camera image on the smartphone, change camera settings remotely, and then select the AF area by touching the desired subject on the smartphone resulting in AF lock on the subject anywhere in the frame and immediate shutter release and image transferred back to the smartphone.

Just awesome – next time you are in a lightning storm, have the camera set up on the tripod in the rain with a lens hood on to prevent rain hitting front lens glass, then remotely control the camera from the safety and comfort of your car.

Obviously this is also very cool when traveling without a PC – just transfer images wirelessly to your iPad or iPhone and then upload to internet.

Night photography features

The E-M1 Mark II has dramatically improved long exposure thermal noise to such an extent that one may be able to avoid using the “Noise Reduction” automatic dark frame noise subtraction technology which effectively doubles the length of your long exposures.

It has improved high ISO noise compared to previous models but still 1-2EV worse than current full frame cameras, but you can still get good image quality of Milky Way astroscapes using a wide angle f/2 lens at ISO 1600 or 3200 at 20sec exposures if that is what you are into.

The EVF can also be set to a Live Boost mode to allow better visualisation and manual focus of dim objects such as stars and, optionally, boosted even further to Live Boost 2 mode to assist in composition of very dark scenes – although the frame rate of the EVF is very slow and not great for focus, and really only suitable for tripod work.

AF on relatively bright stars is easy with a lens f/4 or brighter – just choose a single AF point instead of a block of points – if your lens is not as wide an aperture or the star dimmer, consider using AFL with the in-camera focus limiter to stop the focus hunting so much. If you really get stuck, use magnified MF mode – and even try AFL whilst magnified!

Preset MF mode – just in case you accidentally turn the MF ring – you may as well lock it in as a preset MF so you can quickly return to sharp focus!

In addition it has the interesting and very cool unique long exposure modes of the previous Olympus models:

  • Live Time and Live BULB – unlike dSLRs which don’t get past 30secs for long exposure timed shots, the Olympus cameras can get to 60secs and in addition, visually display the progress of the image “development” so you can assess the exposure. If you want longer timed BULB, just use normal BULB and set the maximum duration for 1,2,4 or 8 minutes, but in this mode there is no visual update of the image on screen.
  • Live Composite – allows an initial scene exposure shot then a user customisable number of further images, but with only the brighter areas added to the original image which prevents the original scene becoming over-exposed. Great for car light trails, fireworks, star trails, etc.

Other features:

  • automatic eye sensor EVF switching
  • fully articulated, swivel touch screen
  • dual SD card slots including one UHS-II compatible slot
  • in-camera automatic HDR as well as manual HDR modes
  • Timelapse mode up to 999 frames
  • Timelapse movies at 4K 5fps, 1080HD 5/10/15fps
  • Multi-exposure mode to automatically combine 2 photos with optional auto-gain (the original one can be one on the memory card or a previous multi-exposure RAW file which thus allows unlimited multi-exposures)
  • keystone compensation
  • Automatic flicker reduction with flourescent lighting (or you can choose 50Hz or 60Hz, or turn it off)
  • AF illuminator built-in (no flash required)
  • ART filters to help previsualise images as well as create special effects
  • Colour Creator image toning and colour control
  • in-camera RAW processing to create new jpegs in playback mode
  • Selfie assist mode – automatically reverses the image on the swivel screen when facing the subject
  • USB 3.0 port
  • stereo mic, mic port, headphone port, audio level controls
  • optional battery portrait grip
  • optional underwater housing

What’s missing?

Like all cameras, there are necessary compromises, some of these relate to the sensor size such as:

  • ability to achieve ultra shallow depth of field with wide angle lenses or with most zoom lenses (for most purposes you can achieve an adequate level of shallow depth of field using the E-M1 Mark II with wide aperture prime lenses or a f/2.8 telephoto zoom). Of course, it won’t be long before cameras will have the new iPhone 7 portrait feature of intelligent software blurring of the background which you can do now in computer software but is time consuming and difficult to get the same effect that the lens paints on a full frame camera with a 35mm f/1.4 lens or 85mm f/1.2 lens.
  • high ISO performance for low light action subjects, although the noise levels at ISO 1600-3200 should suffice for most uses, and made up for with its other advantages such as hand holdable telephoto reach, and wide aperture telephoto lenses giving more depth of field and allowing lower ISO by using a wider aperture.
  • single shot high resolution 50mp capability

Other features that are missing and issues:

  • no Scene modes to assist newbies in photographing sunsets, fireworks, etc. – all other Olympus digital cameras have these, but it seems Olympus has taken a leaf out of the Canon and Nikon books and left this beginner’s easy presets out of their pro camera – presumably as no space on the PASM dial after they added the 3 custom settings
    • this means no Panorama mode at all! – you need to manually ensure WB, exposure and focus are all locked then take your shots and then stitch them on a computer software package such as Lightroom
  • no built-in GPS – not really needed but some may like it, the rest of us can use the smartphone app to achieve the image tagging
  • no built-in popup flash – but comes with a small bundled flash unit which can act as a master remote TTL flash controller
  • not able to use shutter speeds faster than 1/50th sec in silent electronic shutter mode as top of frame not illuminated – the GH-5 can sync to 1/2000th sec in electronic shutter mode – presumably thanks to a faster or different designed readout.
  • unable to use the older BLN style batteries – new, larger batteries are needed
  • no sweep panorama mode – I must admit this mode on some cameras doesn’t make sense to me – if you want good quality images you should not be moving the camera during the shot – I won’t be missing this.
  • in-camera panorama stitching – you will need software to do this and you need to manually lock settings for each image so they look similar
  • radio TTL remote wireless flash control – PocketWizards have created a third party option for Panasonic GH4 so hopefully they will produce an OM-D version, and Nissin have just announced a Micro Four Thirds version of their Nissin Air System which works on 2.4Ghz radio frequency for remote TTL flash. See my wiki page on radio flash options.
  • Lightroom 5 will not open the RAW ORF files – you will need to upgrade to Lightroom 6, or use Adobe Raw converter to convert RAW to DNG (does not currently read the 64Mb HiRes RAW files), or use Olympus Viewer 3 to slowly convert to 100mb TIFF files as Lightroom 5 will read the DNG or TIFF files
  • Windows File Explorer or photo app does not display these ORF files yet – needs an updated codec to be installed but it seems this is not available as yet
  • you may need to update firmware for some lenses – eg. Sigma has just released an update for the 30mm f/1.4 MFT lens
  • unanswered questions – does the EVF fog up in high humidity as occurs with my E-M1 mark I and E-M5 mark I?

There are some firmware improvements I would like to see:

  • INTRODUCE AN OPTIONAL ARTIFICIAL LOUD SHUTTER SOUND – the shutter is so silent, subject’s don’t know when you have taken the shot and they can move
  • ability to set the auto ISO default slowest shutter speed to (image stabilisation effectiveness in EV / focal length) x user EV setting
    • the Olympus default is 1/focal length which doesn’t allow the user to utilise the image stabilisation capabilities to its full effect and doesn’t even take into account the 2x crop factor effect
    • having a user EV setting as a user variable allows the user to take control of how much they trust the IS and their hand holding skills
  • ability to toggle AF targeting pad ON/OFF via a button – currently cannot allocate this function to a button
  • Release Priority S = OFF is not honored when AF mode is S3 thus cannot have AF locked and press shutter and wait until subject enters focus distance before shutter fires, admittedly honoring this could create problems for users who use back button AFL then recompose as shutter would not release at all and would confuse them – maybe there needs to be an additional setting?
  • AF with Four Thirds lenses is still too slow – perhaps even slower than when using Canon EF lenses with a Metabones adapter!
  • add a Panorama mode to make this easier than manually locking all the settings for each shot
  • ability to select AF sensor mode: hybrid vs PDAF vs CDAF
    • this would potentially give the photographer even more control, but perhaps more importantly, allow companies like Metabones to get certain Canon lenses to autofocus fast and accurately on the camera (for example the Canon EF 135mm f/2.0L lens just won’t autofocus properly – and even on a Sony a7RII, one must select PDAF mode not CDAF mode for it to work, most other Canon lenses will AF fine on both these cameras with a Metabones adapter, although not as fast as a Micro Four Thirds lens on the E-M1 II).
  • option to have spot meter coincide with the current single AF point – the Mark II as with prior OM-D models always keeps spot meter in the centre
  • firmware bug causing issues with Panasonic Leica 100-400mm lens focal limiter – PS.. Panasonic has issued a firmware update for the lens to fix this.
  • ability to use the aperture ring on some Panasonic lenses
    • there are not that many lenses with aperture rings but it shouldn’t be that hard to add that fuctionality and make it useful
  • ability to use Dual IS with Panasonic OIS lenses
    • if Panasonic and Olympus want to continue the paradigm of a unified Micro Four Thirds system, they need to work a bit closer together to improve compatibilities – Panasonic cameras will not do Dual IS with Olympus OIS lenses either, while panasonic cameras don’t have the lens database data to allow Panasonic’s DFD AF technology to work with Olympus lenses or Panasonic Four Thirds lenses for that matter.
    • in the interim, probably best to turn the lens IS off when using Panasonic lenses
    • on a similar vein, the ProCapture mode is said to only work with Olympus M.Zuiko lenses.

Firmware updates Olympus are allegedly working on:

  • Adding ‘Auto ISO’ capability to manual video shooting
  • Allowing for control of autofocus racking speed while shooting video
  • Clarifying and enhancing customizability of continuous autofocus behavior beyond the current -2 to +2 ‘tight to loose’ scale
  • Working on the AF algorithm to improve tracking performance
  • Enable the ability to enter playback and menus while the buffer is clearing

Final word:

This is one hell of a photographer’s tool but so feature laden and customisable that one really needs a good grounding in photography and a preparedness to learn how to use these features to avoid being frustrated with its complexity.

That said, beginners can resort to just using iAUTO mode and even using the rear LCD screen to touch a subject to focus and take the shot.

It is indeed a camera to grow into, but having come from the E-M1 it does feel very natural in the hands with similar ergonomics – although the menu system has been revamped for the better.

Finally, the camera is only part of the equation – the great range of high quality dedicated lenses for the camera is probably the biggest reason to choose this system, and it seems Olympus is preparing to announce even more nice lenses soon – the rumour is wide aperture telephoto prime lenses – here’s hoping for a 100mm f/1.4 and a 200mm f/2.8.

 

Can’t afford a mirrorless camera? Here is a brief guide to the budget dSLRs in Jan 2017.

Written by admin on January 27th, 2017

In 2017, the mirrorless interchangeable cameras such as Micro Four Thirds (eg. Olympus or Panasonic – see my previous post on budget mirrorless cameras) are probably the best suited for most people in terms of size of camera and lenses, weatherproofing, image stabilisation, hand held video capabilities, versatility, image quality, more fun and value for money.

However, the most affordable versions of these tend to be too compact and lack too many features, and for those on a strict budget who need better ergonomics and can do without weathersealing and the many features that mirrorless offer (eg magnified manual focus in viewfinder, image review in viewfinder without need for reading glasses, live histograms, focus peaking, etc.), they may have to resort to entry level cropped sensor dSLRs with their cut down features.

The sad fact is that both Canon and Nikon have largely failed to offer high quality dedicated lenses for these dSLRs so that users can grow into the system without having to resort to large, heavy, expensive full frame lenses to address their growth needs. Enthusiast photographers will generally quickly migrate to more expensive full frame dSLRs to make the most of these full frame lenses – but this is a path to financial pain as well as backache, and they will not be able to use their cropped sensor lenses on these full frame cameras without having to resort to a cropped view mode.

Unlike mirrorless cameras, if you want to shoot video, you have to put the mirror up and use the rear LCD screen – you won’t be able to see anything through the viewfinder. In addition, very few lenses for dSLRs are optimised for video work – exceptions are those with stepping autofocus motors (marked as “STM” on Canon lenses).

Canon cropped sensor dSLRs can use dedicated cropped sensor lenses (“EF-S”) or larger full frame lenses (“EF”).

Nikon cropped sensor dSLRs can use dedicated cropped sensor lenses (“DX”) or larger full frame Nikon F mount lenses.

All have rather dark, cropped view Pentamirror viewfinders rather than the brighter, 100% coverage of the more expensive dSLR pentaprisms.

Canon budget dSLRs:

All have 1.6x cropped sensors, optical viewfinder with 95% image coverage, 1080HD 24/25/30p video, flash sync 1/200th sec, longest timed shutter speed of 30sec, built-in flash, scene modes including Scene Intelligent Auto, ±5 exposure compensation, 3frames AE bracketing up to ±2EV, Face Detection AF but only fast in Live View with mirror up,  USB 2.0, single SD card slot, limited spread of AF points across the frame and minimal button customisations.

None have weathersealing, built-in sensor based image stabilisation or 4K video.

The older models up to and including the 700D (rebel T5i), and the smaller cheaper models all have similar outdated 18mp sensors 1st introduced with the Canon EOS 550D (rebel T2i) – ie. the sensors are old 2010 level technologies – a lot has happened since then!

The newer 24mp sensor is still not as good for high ISO and dynamic range as the Sony sensors found in Nikon, Pentax, Olympus and Sony bodies.

Canon EOS 1300D (Rebel T6):

  • this is the older, 2013, basic model with 18mp sensor, Digic 4+ image processor, 9 AF points, 3″ fixed 920Kdot LCD screen, shutter to 1/4000th sec, mono mic, no mic port
  • popup flash has GN of 9.2m at ISO 100
  • burst rate 3fps
  • AF is very slow in Live View or movie mode
  • 485 g (1.07 lb / 17.11 oz)), 129 x 101 x 78 mm (5.08 x 3.98 x 3.07″)
  • remote control via optional RC-6 cable or WiFi
  • built-in WiFi + NFC but compatible with Eye-Fi SD cards to transfer images wirelessly
  • in Jan 2017, body with basic 3x zoom kit lens will cost $AU433 after cash back from Canon

Canon EOS 100D (Rebel SL1):

  • this is the compact 2016 model with 18mp sensor, Digic 5 image processor, 9 AF points, 3″ fixed 1mdot LCD touch screen, shutter to 1/4000th sec, mono mic and a mic port
  • popup flash has GN of 9.4m at ISO 100
  • burst rate 4fps
  • basic 63 zone metering system
  • AF is very slow in Live View or movie mode
  • 407 g (0.90 lb / 14.36 oz), 117 x 91 x 69 mm (4.61 x 3.58 x 2.72″)
  • remote control via optional RC-6 cable
  • no built-in WiFi but compatible with Eye-Fi SD cards to transfer images wirelessly
  • in Jan 2017, body only will cost $AU399 after cash back from Canon, perhaps a good option is the kit with the EF 40mm f/2.8 STM lens for $490 after cash back

Canon EOS 750D (Rebel T6i /Kiss X6i):

  • this is the larger 2015 model with 24mp sensor, Digic 6 image processor, 19 AF all cross type points (same as 70D), 3″ articulated 1mdot LCD touch screen, shutter to 1/4000th sec, stereo mic and a mic port
  • popup flash has GN of 12m at ISO 100
  • burst rate 5fps
  • new 7560 pixel RGB + IR metering sensor for more accurate metering
  • new Hybrid CMOS AF III uses sensor-based phase detection points for increased focus speed and accuracy in live view (this is different to the Dual Pixel AF sensor found on the more expensive 70D and 7D II)
  • Eye sensor for use with optical viewfinder
  • Flicker detection
  • 555 g (1.22 lb / 19.58 oz) / 132 x 101 x 78 mm (5.2 x 3.98 x 3.07″)
  • remote control via optional RC-6 cable or smartphone via WiFi
  • built-in WiFi + NFC
  • issues include:
    • poor subject tracking and face detection AF unless you use Live View
    • limited AF point coverage across the frame (mainly just in the centre – so problematic for portraits, etc away from the centre)
    • limited dynamic range
    • no exposure compensation in manual mode with auto ISO
    • auto ISO uses the 1/focal length as longest shutter speed to use, cannot program this
    • poor battery life compared with more expensive dSLRs
    • no ability to microadjust AF for each lens leading to possible inaccurate AF in all shots
  • in Jan 2017, body only will cost $AU755 after cash back from Canon

Canon EOS 760D (Rebel T6s /Kiss X6s):

  • as for 750D but $30 dearer and adds:
    • LCD information display on top plate
    • Quick control dial on rear but awkward to use for some
    • Servo AF in live view, which lets you track moving subjects when shooting in live view
  • competes with the Nikon D5500

Nikon budget dSLRs:

All have 1.5x cropped sensors, optical viewfinder with 95% image coverage, 1080HD 24/25/30/60p video, flash sync 1/200th sec, longest timed shutter speed of 30sec, built-in flash, ±5 exposure compensation, 3frames AE bracketing up to ±2EV, Face Detection AF but only fast in Live View with mirror up,  USB 2.0, single SD card slot, limited spread of AF points across the frame and minimal button customisations.

None have weathersealing, built-in sensor based image stabilisation, PDAF in Live View, or 4K video.

Nikon D3400:

  • this is the compact 2016 model with 24mp sensor, Expeed 4 image processor, 11 AF points, 3″ fixed 920Kdot LCD screen, shutter to 1/4000th sec, mono mic but no mic port and no timelapse recording
  • popup flash has GN of 12m at ISO 100
  • burst rate 5fps
  • AF is very slow in Live View or movie mode
  • battery life 3x longer than the above Canon models
  • 395 g (0.87 lb / 13.93 oz) / 124 x 98 x 76 mm (4.88 x 3.86 x 2.99″)
  • remote control via optional  cable or smartphone via Bluetooth
  • Bluetooth Snapbridge only no built-in WiFi
  • in Jan 2017, body only will cost $AU535

Nikon D5500:

  • this is the compact 2016 model with 24mp sensor, Expeed 4 image processor, 39 AF points incl. 9 cross-type, 3.2″ articulated 1mdot LCD touch screen, shutter to 1/4000th sec, stereo mic, mic port
  • popup flash has GN of 12m at ISO 100
  • 17 mm eyepoint
  • burst rate 5fps
  • Multi-CAM 4800DX autofocus sensor module with TTL phase detection
  • 3D color matrix metering II (type G, E, and D lenses)
  • 3D subject tracking
  • no anti-alias filter and thus can give marginally more image detail than the above Canon models
  • no AE bracketing
  • AF is very slow in Live View or movie mode
  • battery life 2x longer than the above Canon models
  • Optional GP-1/GP-1A GPS module
  • 465 g (1.03 lb / 16.40 oz) / 124 x 97 x 70 mm (4.88 x 3.82 x 2.76″)
  • remote control via optional  MC-DC2 cable or WiFi via WR-1/WR-R10
  • Wifi
  • in Jan 2017, body only will cost $AU825

Nikon D5600:

  • as for D5500 but $70 dearer, half the battery life,  AE bracketing, Bluetooth,  NFC, timelapse recording, exposure metering using 2016-pixel RGB sensor

Conclusion:

The Nikon dSLRs have better sensors than the Canon in terms of dynamic range and perhaps more detail without the anti-alias filter, plus they have better subject tracking, better battery life and the video mode can capture 60 frames per second not just 24/25/30p.

The Canon dSLRs with sensor-based phase detection points have better Live View AF and all the Canons can use a much wider range of legacy lenses (eg. you can adapt a Nikon lens in manual focus only onto a Canon dSLR but you cannot use a Canon lens on a Nikon dSLR due to its long sensor to lens mount distance).

There are more expensive versions of these dSLRs which add weathersealing and improved autofocus as well as pentaprisms instead of the dark pentamirrors, but then, you probably would be better off buying a mirrorless camera such as an Olympus OM-D E-M1 or Panasonic GX85/80.

 

Affordable compact mirrorless cameras for the parent wanting to capture their child or pet

Written by admin on January 22nd, 2017

Most parents, even if they are not photographers, want a camera that is easy to use and will capture high quality photos of their kids as they grow up – and as good as smartphones are, they can really suck with poor image quality in low light, and often have trouble capturing the moment, not to mention, lack the option of having a bounce flash for nice light.

A cheap digital SLR camera will do a good job of moving subjects but these cameras and lenses are too big for hand bags and are not able to automatically autofocus on a child’s face and lack the many features we now take for granted in mirrorless cameras. Nevertheless they could be a cheaper option for some. For example, Canon 100D with 40mm f/2.8 STM lens will cost around $AU490 after cash back and then you can throw it away and get a mirrorless when you can afford it.

Mirrorless cameras offer smaller size and are quierter, less intrusive while allowing a range of features not available on dSLRs – unfortunately they do tend to struggle with focusing on moving subjects unless they have PDAF technology (the larger OM-D E-M1 or Sony mirrorless) or DFD technology such as the latest Panasonic cameras.

All cameras will struggle to focus on strongly backlit subjects (sunny window behind your subject) or low contrast subjects such as black cats in dim lighting.

The falling Australian dollar has made camera gear more expensive in Australia which makes finding a good camera and good low light lens for under $AU1000 challenging – don’t forget to consider buying second hand on Ebay!

The main requirements:

  • affordable – around $AU1000 for camera and lens
  • compact – should fit in a ladies hand bag
  • high quality images – thus a reasonably big sensor is needed – Micro Four Thirds gives this while still allowing compact camera and lens
  • fast, accurate autofocus on the child’s face – now this is where things can get difficult in low light and with a moving child
  • ability to touch the rear screen and rapidly have the camera focus on that area and take the photo
  • smartphone WiFi connectivity to allow instant uploads to the net via the smartphone
  • image stabilised 1080HD video capability
  • a low light lens to allow better images indoors with or without a flash

The Olympus options:

I love Olympus cameras, particularly the OM-D series (as I prefer to use a viewfinder rather than the rear screen), but the Pen series may be very adequate and more compact for the casual parent photographer who is happy to just use the rear screen and not have a view finder.

None of the Olympus models at this price point have PDAF capabilities so will not be able to track a subject with autofocus, but their autofocus is so fast you can usually get away without this as long as the subject is not moving too quickly.

Then you would need to select a nice low light lens which will allow better images in low light indoors, and for this, I would look at the Olympus m.Zuiko 25mm f/1.8 ($AU431) (or Olympus m.Zuiko 17mm f/1.8 ($AU509) if you want a wide view or Olympus m.Zuiko 45mm f/1.8 ($AU382) if you want a closer view). If you have lots of money then the Olympus m.Zuiko 25mm f/1.2 lens will be even better but this will set you back around $AU1600 for the lens alone!

The Panasonic options:

The latest Panasonic cameras are very nice as they have Panasonics DFD autofocus technology which should allow faster autofocus on moving subjects.

  • Panasonic Lumix DC-GX850 $AU649 with kit zoom lens – coming in Feb 2017, has 4K video, selfie mode with flip up screen and hands free modes (face shutter, buddy shutter, Jump snap) as well as Background Control features makes it a nicer camera for the parent than the Olympus options but you do lose the viewfinder, hotshoe for a flash and the built-in image stabiliser.
  • Panasonic Lumix GX85 $AU 980 with kit zoom lens – awesome camera, similar to the GX850 but you also get the viewfinder, flash hotshoe and image stabilisation built in.
  • Panasonic GF8 – $AU579 with kit zoom lens -  older model with similar capabilities to the GX850 but no 4K video

You will then need a Panasonic low light lens such as the Panasonic 20mm f/1.7 II pancake lens ($AU378)Panasonic 25mm f/1.7 lens ($AU288) or Panasonic 12-35mm f/2.8 lens ($AU790) if you just want one zoom lens and don’t mind it being a bit bigger. The autofocus is not quite as fast on the pancake lens but its compact size makes carrying in a handbag easier.

The high end mirrorless options:

For those where size and money are not an issue, here are a few options which will allow even faster autofocus and shallower depth of field with a range of other benefits:

Olympus OM-D E-M1 mark I ($AU1150) or the much more expensive, new E-M1 mark II version ($AU2750) coupled with the Olympus m.Zuiko 25mm f/1.2 lens ($AU1600).

Sony a7II full frame mirrorless ($AU1900) with Sony Sonnar T* FE 55mm f/1.8 ZA lens ($AU1150), but this route will take you down a path of financial pain – their full frame mirrorless lenses are very expensive!

Conclusion:

If you have the money and don’t mind the larger size and lack of selfie features, go for the Panasonic GX85 and buy a low light lens and a bounce flash to sit on the camera for when the light is dim and not so nice.

If the GX85 is too expensive, and you want to use bounce flash, go for the Olympus OM-D E-M10 mark II with an Olympus 25mm f/1.8 lens.

If you can’t see yourself using a bounce flash, the lighter, smaller, cheaper, Panasonic GX850 with its selfie features combined with a Panasonic 20mm f/1.7 II pancake lens  or for faster AF but larger size, Panasonic 25mm f/1.7 lens, the would make a great compact combination.