E-M1 review with high ISO samples

Discussion in 'Olympus' started by laur|1, Sep 11, 2013.

  1. Interesting review. Thanks for the link.
    I prefer to see side-by-side comparison shots when comparing high ISO images (as compared to the E-M5) but these do seem pretty good on their own and look like a major improvement. I would be interested in seeing what DXO has to sa.
    I would also like to know more about the continuous AF upgrade, whether or not it really works and works well.
     
  2. those hi-ISO shots are pretty impressive. but the E-M1 faces tough competition at its price point. it has all the bells and whistles, but it costs about as much as a nikon d600 refurb. looks like it would be great for videographers and PJs, but i'd like to see what fuji comes up with with the xpro2.
    there's another fairly detailed review with lots of pics here.
     
  3. Eric, size and weight wise, I don't know of another body that delivers what Olympus does. The E-M1 seems like a winner for anyone looking for a small, full featured body. Time will tell.
     
  4. Laurentiu, thanks for Robin's link. At least Olympus delivered on their promise to provide autofocus functionality ( to be tested out of course) for their fine line up of Zuiko ED lenses. It does look like it will be state of the art in other ways and ergonomic with its nice grip and add on grip holder. And I am really eager to have a look at the latest and greatest in electronic viewfinders, which are doing a great job as we get used to them. I also like the thoughtful design of the Lumix GX 7. Seems like button and wheel placement are smarter and cleverer... I need more fun money to spend is all!..
    .Would I take out my E-3 for a quick job over something like the EM-1? Maybe, as it is still a good camera with solid build and more, no need for the latest and greatest. ( Need is ambiguous criteria for we techno based gadgeteers naturally, painters have it easier re tools) Idea of cabled connection to a bigger screen is seductive idea, keep thinking that.... For a tripod collared lens like the 50-200 no sweat for weight balance. For the 50mm macro the same.
    Alternatively does it seem like the fast zooms coming down the micro track are the better choice. It presents a dilemma for those wanting to keep up with technology. Two systems essentially. But photographers have lived with multiple systems ( e.g, An old 6X6 Hasselblad or Mamiya or a Pentax 6X7 and maybe a Leica...and different films which latter are a non consideration with digital.)
    If one has stuck with Olympus, it raises the flag hoist up, and the prophets of corporate doom will now have to dig deeper in their gripe bag...Me, I am happy as a morning lark about micro four thirds, and the movie hybrids too. It takes a different mindset to shoot some video. Good for the neurons Alan Alda would say ......
     
  5. I don't think this camera faces any competition really - it provides a needed platform for FT users and an upgrade for any MFT users that need one. And its cost matches the features - I'd like to see a less expensive camera providing all that the E-M1 offers, but there is none. Between the E-PM2 and the E-M1, Olympus is offering plenty of capable cameras.
     
  6. Doubtful that Lumix will adopt the dual sensor technology. Wonder if that is in the works, and for what purpose. Both focus modalities seem to have advantage when combined. Hmm.
     
  7. I really like the video on the OMD- EM5. I wonder if the dual sensor AF technology will provide video AF like the new Canon 70d...
     
  8. I don't think this camera faces any competition really​
    that's a ridiculous statement, and one which cannot be backed up with facts. a camera is a product, in a market with other products. anyone considering it will naturally consider other cameras at that same price point. i can see where a m 4/3 user might be salivating, but as someone invested heavily in nikon, i have to consider the pros and cons of this camera, as well as others in its class i might consider. for that price point, i'm looking at the d600 and the xpro2, whenever it comes out, as well as whatever canon has going. as a non-m 4/3 user, i have to consider the expense of investing in a new system, as well as the benefit of staying put, or going to another system, be it Fuji X mount or Sony NEX.
    the e-m1 looks nice, and i appreciate the professional features with lighter weight, but the dynamic range is not going to match FF or APS-C due to the smaller sensor. that's not even debatable. what is arguable is whether the IQ is "enough" for most applications that i, as a photojournalist, might want to use it for. both reviewers seem to think it is. can it make nice pictures? sure. but does it match the IQ of larger sensors? no. will that matter? that's the question.
    i do like that Olympus has raised the bar on functionality and i hope that trickles over to other camera makers. but this camera is going to have to sell a sh*tload of units for other manufacturers to take notice. i hope that happens, but at that price point, i'm not sure there are enough prosumers to make that a reality.
     
  9. I don't think this camera faces any competition really​
    As someone invested in both Canon and M4/3 I am weighng up the E-M1 versus a Canon 70D or 6D. If the E-M1 were cheaper that would make my decision easier - not that I don't hink the E-M1 has an impressive feature set, but M4/3 sensors to date don't fully meet all my IQ needs.
     
  10. Eric:
    The Em-1 is directed primarily to existing 4/3rds and m4/3rds users, so no there are no competitors. Somebody coming
    into this system is going to look at the strongest m4/3rds pro which is its size and have to see whether the IQ is good
    enough for their needs.
     
  11. there are no competitors.​
    sorry, but that's just not true at all. to be perfectly clear, there is no factual basis for that statement whatsoever. to expound on my previous comment, cameras don't exist in a vacuum. they exist in a market, which is defined by price point and features. so, at the over-$1000, under- $2000 level, there is plenty of competition. essentially, you're looking at high-end APS-C as well as entry-level full frame. the camera also faces competition from other m4/3 cameras which are less expensive.
    Perhaps what you meant to say was, at its price point, there is currently nothing like it in the m 4/3 class, which would at least be a reasonable statement and not just pure hyperbole. the E-M1 does offer a respite to older 4/3rds users who have basically been abandoned by both Panasonic and Olympus. However, the E-M1 competes directly with not only the E-M5, but also the Panasonic GH3 and GX7 in the m 4/3 class, and it also competes with high-end APS-C offerings from Fuji, Nikon, Canon, Sigma, Ricoh, Pentax and others, as well as entry-level full frame offerings from Nikon, Canon, and Sony.
    You don't make a "professional" camera which you only intend to sell to non-professional users (which includes existing m4/3 and 4/3 users). What Olympus is hoping for is that anyone willing to spend $2k on a body/lens combo--a demographic which not only consists of well-heeled amateur enthusiasts, but working PJs and videographers-- will take this camera under serious consideration. It's a better body for those who have already bought in to m4/3 and 4/3, but is it compelling enough for those who might otherwise purchase a high-end DSLR, or those who already have invested into other camera makers' systems? That's the question.
    Just looking at the high-ISO samples, it has better performance than previous m4/3 offerings, but is clearly not at the level of full-frame cameras. so while the PDAF is a plus, for anyone who shoots regularly in dim environments, i.e. club/concert shooters, the E-M1 is a step backwards from FX bodies. In particular, the blacks at high-ISO (above 3200) show a lot of noise. and like i said earlier, its simply not possible to achieve the same level of dynamic range with a smaller sensor. Not trying to throw salt on this particular camera, just trying to put things in realistic perspective. Were the price closer to $1000 than $1500, this camera would be a lot more appealing to a much wider segment of potential buyers. and, to take your comment at face value, the size factor isn't the strongest 'pro', since there are smaller bodies out there at lower price points, including other cameras from Olympus.
    basically, you have to be a dedicated m4/3 user (or legacy 4/3rds user) who needs better AF, stabilization, and weather-sealing than other m 4/3 cameras for this body to be a hands-down choice.
     
  12. they exist in a market, which is defined by price point and features

    It is those features that separate the E-M1 from the rest of the camera world. That's what people on here mean when they say no competition. Yes, there are plenty of cameras in the $1000 - $2000 price bracket but do you know of any with such a rich set of unique features as the E-M1?
     
  13. "basically, you have to be a dedicated m4/3 user (or legacy 4/3rds user) who needs better AF, stabilization, and weather-sealing than other m 4/3 cameras for this body to be a hands-down choice."

    You are absolutely correct.
     
  14. as an owner of the EM-5(actually two of them), for me the Em-1 is a logical progression and not competition. My primary purpose is stills and not video so the GH-3 does not compete because it is bigger and will not correct for my Olympus glass - both 4/3rds and m4/3rds. There are additional features in the body which are attractive like the supposed DR increase, that weird colour changing thing, some drive speed and maybe PDAF. So yes, there are no competitors for what it does and as an owner of Nikon FX gear, MFDs and assorted other photo crap, sorry: no competitors because there is nothing else I own that does what the OMDs do at that physical size and that is what is the most important for me. If your only bargaining chip is price point, then most camera sales are out the window.
     
  15. there are plenty of cameras in the $1000 - $2000 price bracket but do you know of any with such a rich set of unique features as the E-M1?​
    just to be clear, i'm not knocking the camera. what i am doing is thinking, who is this for? as a photojournalist, AF and weather-sealing in a more compact form factor is a plus. But the weak point of m 4/3 hasn't changed since 4/3: less dynamic range and worse hi-ISO performance. The plus of 4/3 is the crop factor works in your favor when using long telephotos. However, that wasn't enough to save 4/3 from early obsolescence. So now we introduce m 4/3 which offers near-DSLR IQ in a more compact body, and introduce a whole slew of lenses for it, some of which are pretty good.
    But here's where the problem arises: if m 4/3 is built around the premise of a smaller form factor, that aesthetic goes right out the window when you start using longer lenses. So you've got an issue right there.
    With the E-M1, we see the size starting to creep back up into DSLR territory -- yet the sensor remains smaller than APS-C or FX. that's also an issue. Olympus has some great lenses, but a lot of that 4/3 legacy glass isn't moving units because no one's buying 4/3 bodies any more. Their solution is to put out a high-end m 4/3 body, and try to convince folks that it's worth buying over a large field of competitors. In short, they have to offer more 'features' precisely because there IS so much competition.
    Which brings us back to square 1: who's going to buy this camera? besides people already invested in m4/3? am i going to dump my FX DSLR for this? probably not, since i do need to shoot at high-ISO frequently and may need to print larger than 11 x 17. am i (or any other advanced shooter or PJ with several thousand invested already into nikon/canon glass) going to consider using it as a back-up system? maybe, although now we get back to the price point issue: for $1800-$2000 with a pro-spec 2.8 lens, am i going to dive in, or will i say, hey, i dont need that level of spec for a backup, i'm getting an E-P5, a Coolpix A, a Fuji x100, or a sub-$1000 camera with a more compact form factor? if i'm spending more than $1000, but less than $2000, why would i choose this over a Fuji X-E1 or Xpro, which also has some really good glass and demonstrably-better dynamic range and ISO performance?
    It almost comes down to, how often will i be shooting in a monsoon? (keep in mind that none of those really nice m 4/3 primes are weather-sealed.)
    The more i think about it, the more it seems that the one type of shooter, besides m4/3 folks looking to upgrade, who is going to choose this over any of the other market options out there is the dedicated videophile (which is a growing segment). Reason being, the stabilization might be prioritized over pure image quality. So in that respect, Olympus is smart. But i think it's still going to be a tough sell overall, in this market, at that price point.
     
  16. that's a ridiculous statement, and one which cannot be backed up with facts.​
    It was backed up with an explanation that you did not bother to comment on. My point was simply that this is a camera for people that already picked the MFT system as their main system. Those that want an inexpensive MFT camera can look at other MFT options. Those that want other sensor sizes can look elsewhere too. Those that want all the E-M1 features for a lower price - good luck getting them somewhere else. And those that don't know what they want can suffer the pain of indecision - feel free to call it competition if it helps you deal with it.
    as someone invested heavily in nikon, i have to consider the pros and cons of this camera, as well as others in its class i might consider. for that price point, i'm looking at the d600 and the xpro2, whenever it comes out, as well as whatever canon has going.​
    Sounds to me like all these options (Nikon, Fuji, Canon) are competing in your mind simply because you have no idea what you want. The D600 and the XPro2 are very different products. You may want them both and they may thus compete for your budget, but that is not the same thing as them competing with each other. Most people don't want both these cameras, they just want one of them.
    the dynamic range is not going to match FF or APS-C due to the smaller sensor​
    Well, the DR of the E-M5 is better than the DR of the Canon 70D. DR is not necessarily proportional to sensor size. Don't know why - this is just what I am seeing - increase of sensor size seems to bring diminishing returns in terms of DR. The Pentax K-5 (APS-C) also has larger DR than the Canon 1DMkIII (FF). The only aspect that is reliably correlated with sensor size is noise.
    As someone invested in both Canon and M4/3 I am weighng up the E-M1 versus a Canon 70D or 6D. If the E-M1 were cheaper that would make my decision easier - not that I don't hink the E-M1 has an impressive feature set, but M4/3 sensors to date don't fully meet all my IQ needs.​
    Well, the E-M5 has better IQ than the 70D that you are considering and is cheaper than the E-M1 too. I bet it doesn't make your decision easier though. :)
     
  17. cameras don't exist in a vacuum. they exist in a market​
    There are various levels of competition. If you really want to be wide encompassing, all products exist in a single market and compete with each other for the budgets of consumers. But to me, competition is essentially about multiple companies providing me with the same kind of product. A few examples might help: a motorcycle is not competition for a sedan and neither of them is competition for a pickup truck. Also, camera systems are engineered to minimize competition by tying buyers to the system. As you mentioned, you are a user "invested heavily in Nikon" - the only reason you would abandon Nikon should be if you suddenly find that there is something you want that Nikon does not make - would you then say that such a product competes with the Nikon products? It may be offered by "the competition", but it is not a product that competes with the Nikon products.

    That's why I don't see a D600 or an XPro2 as competing with the E-M1. The GH3 gets closer, but there are still essential differences in features. If you see them as competition, it is only because your feature requirements are vague.
    Which brings us back to square 1: who's going to buy this camera?​
    Two kinds of people:
    1. Those that already use MFT/FT and want the extra features of this camera
    2. Those that like what the MFT system has to offer and decide to get into the system by picking this high end model
    Sounds like you're neither of them and are surprised that such people even exist. Well, they do.
     
  18. as an owner of the EM-5(actually two of them), for me the Em-1 is a logical progression and not competition.​
    ok, so you're in the primary market since you have presumably already invested in m4/3 glass. but to say there is no competition is absolute bollocks. there's other competition within m4/3, not to mention other camera systems. For instance, I have a friend who bought the GH3 and 12-35/2.8 for video last year. it's pretty unlikely he's going to dump that body for the E-M1. OTOH, a journalism student who needs to do a lot of video work, and hasnt yet invested into any system might want the E-M1, although $1800 for the body/lens combo might be difficult on a student budget.
    you have no idea what you want​
    just to clarify, my primary camera is a Nikon D3s, which i use professionally. so not only do i have a pretty good idea of what i want, i.e. a camera with a comparable level of performance in a smaller, lighter form factor. but there would be a noticeable step-down in dynamic range and high-ISO performance, which would defeat much of the purpose of the E-M1 for me. also the camera isn't that much smaller than the backup DSLRs i already have. so while i'm a bit intrigued by the E-M1, i'm leaning much more toward the Fujis, particularly the x100s. i thought about the E-M5 when it came out, but the m4/3 sensor was and continues to be the deal-breaker. APS-C really is the gold standard for IQ, and i'm hesitant to sacrifice that, even with the E-M1's many nice features. (what i REALLY want is a compact with a full frame sensor and professional controls, but the Sony RX1 is too close to a really expensive point and shoot, rather than a full-on pro-spec compact, for my taste.)
    So, the problem here is that i am exactly the person within the intended market for this camera--a working PJ--and i'm not completely swayed by the E-M1 for all the reasons i already noted. I am surely not the only person in this position. As i previously noted, the E-M1 is an easier sell for someone already invested in m4/3. If someone wants to give me an E-M1 and a bag full of pro-spec lenses, i wouldn't turn it down. But my $1800 will probably be going elsewhere.
     
  19. Eric the body is $1400, not $1800 and I am pretty sure you are not in the target market of this camera.
    As far as IQ goes, you are mistaken as there really are no major sacrifices with Olympus cameras except perhaps at very high ISOs. And even then, IMHO, the majority of what you gain in IQ with many of the full frame bodies is due more do downsampling rather than a true sensor advantage. (with the D3S and D4 perhaps being the exception). While I have not directly compared my D800 to my OMD-EM5, I believe that pixel for pixel there is very little difference between the two.
     
  20. Intended market for the EM1. A large slice of the serious photographers, working and avocational. As a professional quality (sturdy build) camera, more or less affordable to many who like owning the latest technology, in a small package which can produce very good images. How good is and will be a relative thing and always will be in the real world. If one shoots in really dark conditions, needs very high ISO way over 800, then I expect it will be outperformed by FX hands down. For more moderate conditions, I am judging( results are just appearing) it will be a good seller. Pre orders suggest this..... Can it do as a wedding camera? No doubt. For photojournalists, we will have to see....maybe at some point it will be a safari favorite,who knows.
    For now, It should appeal to both micro four thirds users who are selecting and investing in the latest upscale micro lenses that are being issued. The f 2.8 zooms for instance and the nice primes.
    And,-not a piddling thing,- gives a nod (long doubted btw) to those who bought into 4/3 glass with expectation that those lenses will always continue to have an updated body. There is a following to the HG and SHG lenses which are in regular use all the time...
    But this discussion, gents and ladies, is odd. What are we disagreeing about...and why the umbrage taken. We seem to agree on what we got in this model, so I read a lot of heavy breathing about piddling stuff, frankly. EM1 not the "cameramessiah?" Not the professional's wet dream? Nope, It is a step forward in the development of the mirrorless technology that many have snuggled up to and find comfy and useful.
     
  21. Got no stock in Amazon (rats!); Jeff Bezos and his gang publish a list of 'best sellers' in the camera category of the EM-1 ) i.e. mirrorless. NOT a bad omen for sales ahead. This was a company heading south in big doo doo a year and a half ago. A phoenix arises again....
    Though impressed by the product, I am going to sit it out for a while even as I have the budget to buy. Got my GH2 . my E-1 and E-3 which cover a lot of turf, plus not so budget 4/3 lenses and one really great micro zoom. The Pana GX1, out soon, has some charm as well, like focus peaking and Wi FI. But I can live without all the fun stuff. Newspaper shooters doubtless prize such a feature. Me. I like a video capable unit. Lot of fun if one learns it.
    FYI, anyone cares about sales ratings as predictors:
    http://www.amazon.com/gp/bestsellers/electronics/3109924011/ref=sr_bs_1
     
  22. look, olympus took a really good camera and morphed it into a nex-gen digicam. some people will buy this camera, and many of them will love it. but let's be realistic here about what we're looking at.
    If one shoots in really dark conditions, needs very high ISO way over 800, then I expect it will be outperformed by FX hands down.​
    um, APS-C can outperform m4/3 at moderately high ISOs. for extreme low-light you need full frame.
    Can it do as a wedding camera? No doubt.​
    people used to shoot weddings with d200s and S5s. the problem now is that most pro wedding shooters are using FF. i dont see the e-m1 denting this market much.
    For photojournalists, we will have to see....maybe at some point it will be a safari favorite,who knows.​
    exactly what thom hogan was thinking, likely. i could see this reviving some 4/3 long glass for long lens shooters. but that's long cash, which is what olympus ultimately wants, to steal sales from hi-end nikon/canon lens buyers. they failed the first time out.
    But this discussion, gents and ladies, is odd. What are we disagreeing about...and why the umbrage taken.​
    there's a certain amount of fanboyism from m4/3 users. maybe because it's been an enthusiast line, up to now. if some pros will use e-m1, i'd like to hear why. need more professional opinions here.
     
  23. I found this interesting review about the new body. It answered a lot of my questions about AF, especially during video.
    "The EM1 may now have phase-detect AF points on the sensor, but sadly does not use them for video, so it relies on the same contrast-based technologies as previous models" (I was quite disappointed to find this out and I am considering cancelling my order over this.)

    In any case, the review is interesting in addition to the previous ones linked above.

    http://cameralabs.com/reviews/Olympus_OMD_EM1/
     
  24. Fanboys (cult followers? ) of a company name need to keep an open mind, granted. Nonetheless, there is a growing acceptance by those who earn their livelihood with mirrorless models and even small sensored micro 4/3 vis a vis APS-C and larger. (Who claim they have set aside a Canon or a Nikon and taken a financial hit I expect in doing so in process, overhead and all, and still produce stuff that sells.) Canon and Nikon have both entered this mirrorless field as well. Fuji, of note, nice models, and, who else, oh Sony- No- Baloney. All deliver good results and hybrid video- a new area of sales, from what I read.
    Here is link to one fan pro shooter who has some words of experience with the latest batch. A shill of sorts, retained by Lumix, but interesting nonetheless. Anyone have other pro level opinions on line to share, add as you find them:
    http://www.smallcamerabigpicture.com/lumix-g-35-100-f2-8-is-it-a-dslr-killer/
     
  25. What I am seeing in on line papers, like the New York Times and Honolulu Advertiser model is a move to increased use of video clips. And less compelling photo graphics in general... Are photo journalists following this trend in their gear lineup and skill set? Sun Times of Chicago has laid off full time photojournalists, and presumably will be using less quality P/Timer photos and more amateur contributions. (No photo or video clip has a byline revealing the size of the sensor or the camera used- that is getting to be the realm of on line forums. Anti alias filter, I still don't know what that is nor truly care, sorry...)
    What do you all think? Is quality in these mirrorless reaching a defining point of excellence for almost all purposes. Are the limitations getting less and less limiting. And the virtues of less bulk and weight (Read the specs on the 1300 dollar 35-100 F 2.8/ a la 70-200/ Lumix medium tele lens for instance) worth shaking up the gear kit. Or considering as a secondary field unit or replacement at some point?
     
  26. An Anti alias filter blurs the image slightly to prevent moiré. This may help you:
    http://www.techradar.com/us/news/ph...s-explained-goodbye-to-anti-aliasing--1160397
    Adding a bit of sharpening usually corrects for some of the lost sharpness.
    By removing the low pass filter, you increase the sharpness of the image a bit, but you also run the risk of seeing moiré under certain shooting circumstances. While some program can reduce and/or eliminate moiré issues, you cannot remove it from video.
     
  27. Eric Arnold:
    um, APS-C can outperform m4/3 at moderately high ISOs. for extreme low-light you need full frame.​
    From Dxo Mark. No difference in ISO performance between D7100 and EM5 at the pixel level.
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    
  28. I was shooting the Nikon D200 and a F100 and decided to get something new to replace my old stuff. So I gave my Nikon gear to my son and started a new system with the OM-D EM-5. No regrets and have found new things to enjoy. Now the EM-1 is out and it looks really good to me. I will not be buying yet another new camera but I think this camera will be a big seller for Olympus.
     
  29. From Dxo Mark. No difference in ISO performance between D7100 and EM5 at the pixel level.​
    If the individual pixels have the same noise level the camera with the higher pixel count will show less noise for the same print/viewing size. Doesn't the D7100 have 24 mp versus 16 for the E-M5?
     
  30. Also the talk that the E-M1 faces no competition is basically nonsense from any commercial or consumer perspective. There migh be no othe product that has its feature set or can do what is can do, but while consumers have choice it faces competion for sure.
    Pure competition involves two vendors selling identical products, eg cans of coca cola on the street. Vendors selling products with different features is simply differentiated competition - in fact most products in the world face differentiated competition.
    If this camera faced no competition, Olympus would be a highly profitable monopoly which clearly it won't be.
     
  31. my primary camera is a Nikon D3s, which i use professionally. so not only do i have a pretty good idea of what i want, i.e. a camera with a comparable level of performance in a smaller, lighter form factor​
    So you want to replace a $5000+ camera with a smaller camera that offers you the same performance and costs less than $1500. Good luck with that!
    BTW, at low ISO (up to 400), the E-M5 gives you better DR than the D3s.
     
  32. If this camera faced no competition, Olympus would be a highly profitable monopoly which clearly it won't be.​
    Facing no competition doesn't guarantee commercial success - you need to generate interest as well :) There are obviously lots of people that are staying away from MFT because they want a larger sensor. It doesn't matter what features MFT cameras are offering - those people will never get over the sensor size thing.

    My competition statement was about pure competition. The E-M1 is the only mirrorless camera that offers in-body image stabilization, weather sealing, and an upgrade platform for FT users. If you care about any of those aspects, there is no competition for it today. And I think there are enough people that care about those things to form a market that justifies the production of this camera. Whatever other customers will pick this up will be the cherry on top.
     
  33. Geoff Francis
    If the individual pixels have the same noise level the camera with the higher pixel count will show less noise for the same print/viewing size. Doesn't the D7100 have 24 mp versus 16 for the E-M5?​
    I downloaded the low light version of ISO3200 images from DPR for D7100 and EP5 and after applying the same NR to both in Lightroom, when I view them at the same vertical size (15"), I am hard pressed to see any difference in terms of noise.
     
  34. as one of the reviewers pointed out, what's killing DSLRs is the expense of manufacturing them. there's no getting around the fact that mirrorless cameras are much less expensive to produce. that said, while the E-M1 breaks new ground as far as having onboard PDAF, it's a first-gen iteration and as such, not perfect, as Elliot's comment points out. conventional wisdom is that mirrorless is still one generation away from truly obsoleting the DSLR.
    looking at the DxO mark chart, you can see the d7100 starts to pull away past 3200, which i would characterize as moderately-high ISO (extreme would be past 6400). so my earlier statement is technically correct. also, i believe that the DXO tests have been criticized for being a bit unfair to nikon as more default NR is performed on Olympus and Canon bodies than Nikon bodies, which may skew the results accordingly.
    Regarding dynamic range, 5DIII - 11 stops, EM5 - 11.9 stops at base ISO​
    ok but that only tell us what the DR is at base ISO. you still get more resolution, obviously, with a 5dIII, and since DR tends to fall off at higher ISO values, this isn't a conclusive statistic by any means, and appears to be highly misleading, i.e. lacking context.
    Here is link to one fan pro shooter who has some words of experience with the latest batch. A shill of sorts, retained by Lumix, but interesting nonetheless.​
    if you follow the link, first of all the guy hasn't even used the 35-100. in actuality he references a video made by another photog, who praises the 35-100 but doesnt exactly say it has replaced his DSLR gear. why is that? because it hasn't.
    in fact, if you go to his page, he's shooting portraits with a Fuji X-E1 with the 18-55 kit lens and 35/1.4, and adapted canon 70-210, 85/1.8, and 50/1.2. the 35-100 obviously hasn't replaced the 70-200 for sports shots, since he's using a 5d3 and 70-200. if you scroll down his page, you can see he uses various cameras, including a mamiya 645 and a sony a99 with a zeiss 85/1.4, but no mention of a GH3 or 35-100 on his blog as far as i could see.
    so to say the 35-100 is a "DSLR killer" is obviously misleading. another technical issue here is that panasonic lenses dont correct for distortion and CA on olympus bodies and vice-versa, and olympus currently has no m4/3 35-100/2.8 lens. so while the idea of m4/3 as an open system works in theory, in practice it's a little bit different. while the lighter weight and lower cost of the pro-spec m4/3 glass are plusses, however, the issue comes back to AF, specifically continuous tracking AF, which is improved in the E-M1 but still not on the level of a D3/D4. since one of the primary uses of 24-70 and 70-200 2.8 lenses (or their equivalents) is shooting fast action, one would have to conclude, as i hinted earlier, that it will take at least one more iteration of mirrorless cameras for them to get "there."
    that said, for advanced amateurs and enthusiasts, as well as video shooters, the 12-35, 35-100 and 12-40 m4/3 lenses are indeed welcome additions. but that's not the same as impacting the pro market -- which Fuji's X-mount cameras are currently doing. So all that Lumix shill is doing is confirming what i already knew: that Fuji X-mount is more up to the pro standard as far as IQ.
    now where it gets interesting for me is in street photography. that's an area where the e-m5 and e-m1's strengths seem especially appealing, and where the promise of m4/3 seems to be borne out, particularly because of the availability of small fast primes. however, that comes with a bunch of caveats, including the AF-C issue i mentioned earlier, as well as the inherent shallow DoF limitations of m4/3 as a native format. also, once you start moving to bigger bodies, i.e. the e-m1 is vs. the e-m5, you lose some of the advantage of m4/3. and you lose more advantage when you start sticking longer lenses on there.
    so, at best, i see m4/3 and mirrorless as complementing a DSLR system, not replacing it (for my intended usage; YMMV). but if i'm going to go there, i'm still looking at the fuji x100s, coolpix A, or ricoh GR for pure street shooting, and in terms of investing into a new system, the sensor limitations of m4/3 put the APS-C compact class, i.e. Fuji X-mount, on a bit of a higher scale. again, YMMV.
     
  35. My competition statement was about pure competition. The E-M1 is the only mirrorless camera that offers in-body image stabilization, weather sealing, and an upgrade platform for FT users. If you care about any of those aspects, there is no competition for it today. And I think there are enough people that care about those things to form a market that justifies the production of this camera. Whatever other customers will pick this up will be the cherry on top.​
    lol. what exactly is "impure" competition, then? are we just making up terms as we go? so, your definition of "competition" is the lack of a camera with an identical feature set? i've got news for you, that's not how the market defines competition, which is around price point.
    There are obviously lots of people that are staying away from MFT because they want a larger sensor. It doesn't matter what features MFT cameras are offering - those people will never get over the sensor size thing.​
    So, you wouldn't call that competition, then? don't products have to be competitive to compete? and doesn't the "sensor size thing" limit the competitiveness of the e-m1, particularly at its price point? you're making a circular argument without addressing any of the valid points i have raised in this thread. the fact that you're backtracking on whether the e-m1 holds any interest for non-mFT/FT users whatsover undermines your argument. that's like saying, if you care about ferarris, there is no competition for those who already have ferraris. if there were no reason for anyone to buy any other camera, then nikon, canon, fuji, sony, ricoh, panasonic and pentax would declare bankruptcy today.in other words, what you are saying is complete hyperbole unsupported by facts and more in line with what a marketing rep might say. in short, your statement is only accurate if you're using weasel words to omit considerable context. for instance, many panasonic lenses have in-lens stabilization, and the new Gx7 has in-body stabilization--at a much lower price point. also, as i already pointed out, the olympus primes--which seem to be pretty good--lack weather-sealing--meaning that you're really only getting monsoon-level protection with the 12-50 and 12-40 zooms, and/or 4/3 legacy glass (which is as expensive or more as pro-spec nikon/canon). again, this defeats some of the advantages of the e-m1.
    if the camera doesn't appeal to people who would otherwise buy other cameras at that same price point, that's not a "cherry on top," that's a product which has limited mass market appeal and may be priced at too high of a price point to justify its specification. ive already pointed out that the e-m1 faces competition at both ends of the spectrum, i.e. from lower-priced m4/3 and mirrorless cameras as well as high-end m4/3, in addition to prosumer-level DSLRs, hi-end mirrorless compacts, and entry-level full frame. curiously, you have not even attempted to argue any of these points. ask yourself, how many FT users have already moved on to other systems? and how many m4/3 users need a body which costs as much as DSLRS with larger sensors? Olympus is betting that there is enough of a market to make this camera a winner--based on sales, not specs--yet it remains to be seen whether that's the case or not.
    So you want to replace a $5000+ camera with a smaller camera that offers you the same performance and costs less than $1500. Good luck with that!​
    actually, i never said i wanted to replace my pro camera. because there is no competition at the $1500 level for a $5000 pro camera, as i'm well aware. what i'm looking for is something which can complement what i already have. what's appealing to me is the lighter, more compact form factor of mirrorless, and an advanced feature set. but since i already have a fair investment in nikon glass, i'm probably looking more at the d7100, which isnt that much larger than the e-m1, or the x100s, which comes with a f/2 lens matched to the sensor, for $1300. note that the e-m1 is $1300 body only, so to get a comparably-specced kit for street and candids, i'd have to shell out an extra $500 for the 17/1.8, for a smaller-sensor camera. sure i could save $300 by getting an e-m5+17/1.8 instead, but if this discussion is about the e-m1, then i've just outlined how the higher-grade performance features may not matter.
    if nikon had an APS-C mirrorless compact which could take f-mount lenses, i'd probably be all over that. and, if the e-m1 was an aps-c camera with the same level of specification, it would hold considerably more appeal. like it or not, the "Sensor size thing" precisely limits the e-m1 market, making it much less likely that pro shooters, i.e. working photographers, will use it for anything other than candid snaps or street photography. Fuji X-mount doesnt share those same limitations, and if the xpro2 can deliver the same AF performance as the x100s, they, not Olympus, will capture this market, of working pros who need a smaller, secondary camera with IQ on the same level as their pro rigs.
     
  36. there's no getting around the fact that mirrorless cameras are much less expensive to produce.​
    Is that really true though? I never saw any data that supported this point and I imagine that the extra processing power and the EVF technology can offset any gains obtained from removing the SLR mirror and affiliated paraphernalia.
    ok but that only tell us what the DR is at base ISO. you still get more resolution, obviously, with a 5dIII, and since DR tends to fall off at higher ISO values, this isn't a conclusive statistic by any means, and appears to be highly misleading, i.e. lacking context.​
    No statistic is conclusive. What this tells you is that the performance of the 5DIII isn't better across the board - it is inferior in some aspects. Low ISO performance is very important for studio work and landscaping.
    another technical issue here is that panasonic lenses dont correct for distortion and CA on olympus bodies and vice-versa​
    If you shoot RAW, you can correct distortion (and I believe CA too, but I never tried that) for Panasonic lenses used on Olympus bodies - you just have to enable those corrections in the Olympus RAW processing software.
    which is improved in the E-M1 but still not on the level of a D3/D4​
    And can you remind us what is the cost of those bodies that you are using as a performance yardstick?
    the sensor limitations of m4/3 put the APS-C compact class, i.e. Fuji X-mount, on a bit of a higher scale​
    Sensor is not everything - lenses matter too. As a system, MFT stacks up pretty well against APS-C cameras. Of all the mirrorless systems available today, it has the most high quality lenses - it will take years for any mirrorless APS-C system to offer what you can get in MFT land today.
     
  37. lol. what exactly is "impure" competition, then? are we just making up terms as we go?​
    I was just replying to what Geoff said and I was using the terms he used:
    Pure competition involves two vendors selling identical products, eg cans of coca cola on the street. Vendors selling products with different features is simply differentiated competition - in fact most products in the world face differentiated competition.
    So, you wouldn't call that competition, then?​
    No, if your criteria for picking cameras is sensor size, I would not call MFT competition for APS-C. Duh!
    you're making a circular argument without addressing any of the valid points i have raised in this thread.​
    Which valid points do you think you raised? You kept talking about the insufficient DR of the smaller MFT sensors despite evidence that that DR was greater than that of APS-C cameras like the Canon 70D and even greater than the DR of your D3s at base ISO. What did I miss? APS-C and FF cameras are good enough and then when MFT provides the same performance, that's suddenly not good enough.
    ive already pointed out that the e-m1 faces competition at both ends of the spectrum, i.e. from lower-priced m4/3 and mirrorless cameras as well as high-end m4/3, in addition to prosumer-level DSLRs, hi-end mirrorless compacts, and entry-level full frame. curiously, you have not even attempted to argue any of these points.​
    Because there is nothing to argue. If you want to look at it like this, then yes, all cameras face competition with each other and if you want we can lump other household products in the competition. But I just don't find such statements of the obvious to be very insightful.

    I tried to say something different and I tried to explain it to you twice already. But you're now just intent on contradicting me rather than on trying to understand the point I was making, which was that the E-M1 already has a large enough niche to justify its existence regardless of what else exists on the market.
    and how many m4/3 users need a body which costs as much as DSLRS with larger sensors?​
    Enough of them, but that is not the right question. What you need to ask is how many MFT users will even consider buying a DSLR with a larger sensor. You seem to think that many do and that's why you think of those DSLRs as competition. But I think that very few MFT users care about DSLRs with larger sensors, so I do not think of them as competition.
    like it or not, the "Sensor size thing" precisely limits the e-m1 market, making it much less likely that pro shooters, i.e. working photographers, will use it for anything other than candid snaps or street photography.​
    Oh, this is rich. Coming at a time when photojournalists get fired and replaced by reporters with smart cameras because image quality of small sensors is good enough. Let me know when reality catches up with you.
     
  38. Is that really true though? I never saw any data that supported this point​
    if you look at one of the earlier links i posted, the author goes into a long explanation of this. essentially, he's saying mirrorless is cheaper to produce as there are fewer parts. what that means is, we'll continue to see the expansion of MILCs and advancements in AF and EVF technology, which are the main things the E-M1 has which are new. fyi, weather-sealing and 4/3 support was available on the E-5, Olympus' last DSLR.
    If you shoot RAW, you can correct distortion (and I believe CA too, but I never tried that) for Panasonic lenses used on Olympus bodies​
    true, however, by doing so you subject yourself to additional workflow issues. Olympus is known for having the best jpeg engine in the business, so that becomes a wash. Also, a lot of editorial shooters, i.e. PJs/event/sports photographers, shoot jpegs because the workflow becomes nigh-impossible if you're shooting RAW, due to the high frame rate which results in hundreds or thousands of pics per event, which you then have to turn around on tight deadlines. not as much of an issue for landscape/portrait shooters, but again, pro-spec 2.8 zooms are sold on the premise that you can use them for fast action. i don't believe the e-m1 has two card slots, does it? if so, you could shoot RAW as primary, with jpeg backup, which is another feature found in truly professional DSLRs like the D3s. doesn't look like the e-m1 has the "RAW+jpeg" option either, according to this spec page.
    Sensor is not everything - lenses matter too.​
    agree, however i addressed this in my earlier comments to some degree. the fast primes IMO are what's appealing about m4/3, along with the telephoto lenses (due to crop factor), although putting long lenses on a compact camera makes it decidedly less compact and may even defeat the intended purpose. but those primes aren't cheap, especially if you're trying to build a complete system. in fact, some are more expensive than their APS-C or FF counterparts.the 12/2 is $700, the 75/1.8 is $900, the 17/1.8 is $400, and the 45/1.8--which has a plastic build--is $400. so a complete set of primes will set me back $2400. if i throw in the Panaleica 25/1.4, that's another $500-$600. you're also paying a premium for m4/3's native lack of shallow DoF: the voigtlander f/0.95s are both over $1000, and the upcoming panasonic 42.5/1.2 will likely be in that price range as well. while on the surface of things, that's not too bad for premium glass, again, you're taking a dynamic range hit as well as a bokeh hit vs. APS-C or FF due to sensor size. if i want to shoot shallow DoF portraits at a true 1.4, i can't do it on an m4/3 camera because i'm losing around 2 stops compared to FF glass, unless i pony up for the 0.95 voigtlanders which are MF-only. (as i mentioned before, there's only $100 difference between an e-m1 and a refurb d600, and i can get a used MF 25/1.4 nikkor for a couple hundred bucks or a 50/1.4 AF-D for $300. in other words, a FF body equipped with a truly fast lens could actually be less expensive than the m4/3 equivalent).
    now if we're advancing this argument, we must also consider the X-mount glass. the kit lenses are a notch above most other camera makers' kit glass, and the 35/1.4 has been compared to Leica. So the best m4/3 glass is very good, but isn't neccesarily superior even among mirrorless cameras. and then there's the small sensor factor -- if i'm going to sink thousands into a system, why should i make any compromises in terms of IQ?
    looking beyond the primes, what's new and exciting for M4/3 is the pro-spec 2.8 zooms, which do realize the micro-system possibilities of the format and appeal to advanced amateurs as well as videographers. however, these pro-spec zooms aren't cheap, either, and in some cases are more expensive than some APS-C equivalents--the panny 35-100 is $1500, or 1/3rd more expensive than the nikon 80-200/2.8. you can see where this becomes problematic: most pros are probably not going to put more than $1000-$1500 into a secondary system, unless they run camera websites and need to review products by a variety of manufacturers. and you have to be really committed to m4/3 to spend $1500 on an e-m1 body plus $1000 for the 12-40, plus $1500 for the 35-100 or (upcoming) 40-150/2.8. that's $4000 right there.
    As a system, MFT stacks up pretty well against APS-C cameras. Of all the mirrorless systems available today, it has the most high quality lenses - it will take years for any mirrorless APS-C system to offer what you can get in MFT land today.​
    that's true to a large extent in 2013, but i'd say that Fuji is closing the gap pretty fast. one thing they did right was to come out with several high-quality primes right away, rewarding early adopters. it took m4/3 a while to realize the strength of the format lay more in high-quality fast primes than basic kit zooms. Fuji also havent made as many missteps, i.e. the Oly 17/2.8. and, if you buy a fuji lens, you can rest assured it will be fully compatible with fuji x-bodies. so, again, not saying the e-m1 isnt a capable body and that folks shouldn't be excited over it. just pointing out that for every claim of it being unparalleled and unrivalled, there's a compelling and valid counter-argument. that said, it's an intriguing release which does push the envelope in several key areas and hopefully will goad nikon and canon into being more pro-active at addressing the mirrorless segment, before it's too late.
     
  39. if your criteria for picking cameras is sensor size, I would not call MFT competition for APS-C.​
    technically, sensor size would be one criteria, price another, image quality yet another. in a market place, all relevant criteria would be considered.
    Which valid points do you think you raised?​
    all the ones you have chosen to ignore, probably because they don't support the point you're trying to make, i.e., "there is no competition" for a consumer product in a consumer marketplace intended for the consumption of consumers. if you didn't have time to read my comments, that's one thing. but please don't act like i haven't addressed all of the different criteria which factor into e-m1 or m4/3 vs. other options.
    But I just don't find such statements of the obvious to be very insightful.​
    when someone is stating the ridiculous, sometimes it's appropriate to state the obvious.
    the E-M1 already has a large enough niche to justify its existence regardless of what else exists on the market.​
    i never said the e-m1 didnt deserve to exist. but by calling it a niche product, you have hit the nail on the head and proved the point i was making.
    What you need to ask is how many MFT users will even consider buying a DSLR with a larger sensor. You seem to think that many do and that's why you think of those DSLRs as competition. But I think that very few MFT users care about DSLRs with larger sensors, so I do not think of them as competition.​
    the is the same argument which has already been refuted by myself and several others on several different occasions. restating it in different words doesnt make it any more valid. the reason it's not valid is because camera makers don't think, oh, i only want to market to people who already own my specific line of products. they want to market to every potential user, including DSLR buyers and current owners, as well as anyone moving up from a smart phone or P&S. maybe you think that by rephrasing my question, you can make your answer more accurate and/or representative of reality. sadly, that is not the case.
    Oh, this is rich. Coming at a time when photojournalists get fired and replaced by reporters with smart cameras because image quality of small sensors is good enough. Let me know when reality catches up with you.​
    not sure what your point is, other than to insult working pros with an ill-advised cheap shot. what are you saying here? do you even know? are you arguing that newspapers who still have staff photographers will now use e-m1's because one paper chose to make budget cuts? are you saying that freelance photographers will now migrate to m4/3 because they will no longer be able to use a newspaper's photo pool gear? will terry richardson, annie liebowitz, and mark salinger be seen panhandling on street corners? will the paparazzi and photojournalist industry grind to a halt because you linked to one article? will the Pulitzer committee refuse to accept DSLR submissions? extremely doubtful, if not completely and totally ludicrous. in fact, this statement has absolutely nothing to do with the topic at hand. did you reach the end of your logic string and decide that the time for irrational arguments had arrived? i dont know a single working pro who shoots exclusively with a smart phone. the media may be cutting costs to save its own hide, but there are still working pros out there who get shots that cant otherwise be gotten with a smart phone or e-m1. honestly, for you even to make this comment shows a serious lack of respect for anyone who shoots for a living, i.e. the professional market you aspire to join with your $1500 toy camera, which by your own argument is irrelevant because, according to you, smart phone cameras are "good enough."
     
  40. I am a MFT user myself and I do not want a DSLR. Besides around here if you pack your camera gear on mules the CHP apparently will toss you in the clink.
     
  41. if you look at one of the earlier links i posted​
    Can you link it again? I only see your link to Ming Thein's review. I don't remember any detailed discussion of manufacturing costs in it.
    Olympus is known for having the best jpeg engine in the business, so that becomes a wash.​
    Do you think there is a difference between in-camera processing and the Olympus software? I have not noticed any.
    in other words, a FF body equipped with a truly fast lens could actually be less expensive than the m4/3 equivalent).​
    Maybe, but the only FF bodies available today are rangefinders/SLRs/SLTs. There is no FF MILC and even if Sony will announce one in October, as rumored, it will take years to develop its lenses. So your argument is academic. And it can apply just as well to APS-C (as it was applied already in many such arguments).
    now if we're advancing this argument, we must also consider the X-mount glass​
    Fuji has a great system, but it is quirky. It lacks image stabilization, which will negate the sensor size advantage in low light scenarios. Manual focusing was problematic, although firmware updates appear to have improved the situation somewhat. And their X-Trans sensor is causing issues for RAW processing - it does not look like you can match the in-camera results easily with other software - this is probably the reason why dxomark has not reviewed any of their X-Trans cameras yet - they don't have a demosaicing algorithm to match Fuji's. There is potential there, but it will take time for Fuji to become more than a niche system.
    you can see where this becomes problematic: most pros are probably not going to put more than $1000-$1500 into a secondary system​
    There were enough people that put more money than that in the FT system - whether they were pros or not is irrelevant. Let me remind you that the high end FT lenses are much more expensive than what has appeared so far in the MFT lineup. That is why the E-M1 makes sense - it allows people to use the f/2 zooms on which they spent several times the cost of this E-M1 body - for them, investing in an E-M1 will be like buying an accessory. Very different point of view from yours with your investment in Nikon.
    but i'd say that Fuji is closing the gap pretty fast. one thing they did right was to come out with several high-quality primes right away​
    Yes, that was the smart thing they did. Their lineup is well designed for APS-C. In fact, it is the first true APS-C system, designed from the ground up around that sensor size. But between MFT and FF MILCs, I wonder what future they have. If you really care about sensor size and like the 3:2 aspect ratio, why stick with APS-C? Leica cameras are not much larger than a Fuji (and less expensive FF MILCs will come out) and Fuji cameras are larger than MFT ones. Fuji has set out to create an APS-C system to rival FF ones, but they may also have painted themselves into a corner with that. At least with MFT, I can get a compact combo if I really want to - a Pen camera with a pancake lens can cover many scenarios and can fit in a P&S bag - that is hard to replicate in any other MILC system. Even the Nikon 1 cameras could not achieve significant more space savings despite the smaller sensor.
    but by calling it a niche product, you have hit the nail on the head and proved the point i was making.​
    That's not what I called it though. I said it had a niche, I didn't say it only had that niche.
    the reason it's not valid is because camera makers don't think, oh, i only want to market to people who already own my specific line of products.​
    Marketing is one thing, deciding to make a product is another. Of course companies will market for all people, but they won't always just decide to make a product because they hope enough people will fall for their marketing - sometimes they'll actually make a product because they have good signs of demand for it. That's what Fuji did too with their X100/XPro - they judged demand with the X100 and then decided to bring the XPro. Do you think they really worried a lot about whether the XPro was enough of a competition for the D7000 or whatever?
    what are you saying here?​
    Let me put it this way: whatever interchangeable camera system you decide to pick, you will be the weakest link in it. The capability of today's cameras is fantastic. I challenge you to show me a result that you can obtain with a FF or APS-C camera but that could not be possible with an MFT one.
    the professional market you aspire to join with your $1500 toy camera​
    Kodak forbid, I don't have any such aspirations! Photography is a hobby for me and I am interested in the technology, that is all.
     
  42. here you go. it was on ming's page: http://blog.mingthein.com/2013/08/24/the-demise-of-the-dslr/.
    cheers.
     
  43. I challenge you to show me a result that you can obtain with a FF or APS-C camera but that could not be possible with an MFT one.​
    i thought we had already established that my FF nikon D3s can do things which are simply not possible with any current MFT camera, such as clean blacks at high ISOs and wide apertures with shallow DoF and fast shutters. to paraphrase your earlier comment, you can't compare a $1500 camera to a $5000 one. you think i want to lug around 10+ lbs. of gear in dimly-lit club environments all the time? beleive me, if i could get 'er done with a lighter body, i would have done so already.
     
  44. here's a pic:
    00c0ET-542549484.jpg
     
  45. if you can match that with your omd e-5, do let us know. and, fyi, i have yet to see any pro shooter at any of the events i cover using an MFT camera. i have seen a couple guys use a fuji xpro as a second or third camera.
     
  46. Eric, you are mistaken, sorry.
     
  47. mistaken about what? do explain. the e-m5 cant match a d3s in hi-ISO, neither can an e-m1. i'll believe i'm mistaken when i see pro nightclub shooters using MFT bodies at shows. until then, very nice travel camera, could be good for some PJ applications, but not a DSLR killer, except for hobbyists and M4/3 pre-converts.
    since i took your challenge, Laurentiu, now it's your turn: show me a clean MFT ISO 5000 and up shot with a lot of black areas -- not the colored backgrounds robin wong shot at the aquarium and post-processed very carefully, i'm sure--but a dim club with a lot of black shadow areas. you know, actual real-life crappy shooting conditions. it must be possible, since you said it was, right? btw, to achieve that same shot i posted, you'd need the voigtlander f/0.95 on MFT to match the DoF at f/2 on FF. but that's a manual focus lens, so good luck doing that with a moving subject wide open.
     
  48. Looks like Olympus will need to produce an OM-D E-Penor.
     
  49. Eric, I really don't want to argue with you but in my opinion, you are mistaken about just about every comments you have made degrading the cameras in question. Any experienced photographer can 'coax' great images out of any just about any camera body to get the shot he/she needs. Cameras don't take great pictures, photographers do. You should know that!
    It is also my opinion that with the right lens and technique, your various nightclub shots that you have posted (not just the one above) are all reproducible with a MFT body.
     
  50. From my perspective, the new Olympus is awfully expensive for a camera with a small sensor, particularly as mirrorless cameras seem to have production periods of only about 6 months. I am inclined to agree with Eric - you would need to be a real m4/3 enthusiast to pick up this rather than an APS-C Canonikon, or even pay a little more and get the Canon 6D or Nikon D600. If you are paying this kind of money I think you are a pretty keen photographer so would be aware of the differences between sensor sizes. The Olympus price might well come down to be more reasonable, but that can hardly be good for their bottom line. Olympus have so far not captured the professional market as far as I can see in any real sense (as Eric says) and I doubt this will do it either. It looks a great camera though.
     
  51. I am on my way to Iceland and because the EM-1 is delayed, I am taking my Nikon FX gear. I looked at those lenses as I
    packed them and got to wondering how much the Sherpa was going to cost me. Unfortunately, since one of my outlooks
    was for large prints, Something big had to come along. However, next overseas trip, those Nikon monstrosities will not
    be coming. I will be forking out for the EM-1, it's not just the body, it's the size of the whole package.
     
  52. "Olympus have so far not captured the professional market"

    I believe to get any part of that market, they will need to have dual memory card slots. Otherwise, I find these cameras to be as good as good and in some ways better than the 'big' guys.
     
  53. It's kind of like the film vs digital threads. The film guys kicking and screaming about digital while going over to the other side one by one. Now the King Kong camera folks with their old fashiioned camera's are kicking and screaming as they come over one by one to the modern world of mirrorless.. All the while the cell phone is slowly putting everyone out of business.
     
  54. By the time I've figured out my cell phone, I'll be dead.
     
  55. I am still using my LG flip phone with an antenna. The old clunker is tough as nails.
     
  56. For anyone interested, DPReview has comparison images available, including RAW files, at all ISOs. I spent some time downloading and comparing higher ISO images between the E-M1 and E-M5 and frankly don't see any noticeable differences in IQ over the OMD E-M5.
    Here is a link:
    http://www.dpreview.com/previews/olympus-om-d-e-m1/9
    It seems that the improvements are really all in ergonomics and features.
     
  57. Thanks for the link.
     
  58. @Elliot, it might be hard to tell, but i believe that's an f/2 shot at ISO 5000. i chose it not because it shows off the DoF, but because there's a lot of black areas which are practically noise-free, which makes it suitable for printing and publication. Nightclub shooting in available light is probably the single most challenging photographic application i can think of, and requires not only professional ergonomics, but extreme hi-ISO performance. Most people who dont shoot in these environments regularly dont need ISO 5000 and f/2, so that's not to say that the e-m5 or e-m1 wouldn't be sufficient for the average amateur enthusiast. You're welcome to do as i did and post a shot at ISO 5000 with a lot of black areas -- which will expose the camera's performance under these conditions. My gut feeling is that the latest batch of m4/3 bodies are good up until 3200 or so, which is still better than the d300s and d7000, but not good enough for a lot of the shooting i do. if i just needed a body that could do clean 3200, i'd probably get a d7100, since i already have all the lenses for it. For someone like me to jump on the e-m1, i'd need at least three fast primes as well as a 2.8 zoom. that would cover some of my PJ and street work and some percentage of concert shooting, but i'd still be ass-out when it came to super-dim club environments, like the New Parish, where the shot i posted was taken, which is a place i shoot a lot. Knowing the specific locations you are going to be shooting in goes a long way toward determining what gear one might need. Again, most shooters out there aren't in this boat, but for those of us who do shoot events, clubs, and concerts in available light, there's no alternative to FF. i've gotten a lot of shots with my D3s i wouldnt have otherwise gotten, just because of the high-ISO capabilities. No offense, but that's not possible--yet--with "any MFT body" as was earlier suggested.
    That said, I would definitely consider an E-M1 as an adventure travel camera, or any other application where the compact size and heavy-duty weather sealing would actually come into play.
    frankly don't see any noticeable differences in IQ over the OMD E-M5.​
    they have the same sensor.
    It seems that the improvements are really all in ergonomics and features.​
    and this gets into the core of the discussion, because while the E-M1 is a newer, more expensive body, for 90-95% of users, it's just as good as the E-M5, at a 400% price increase. marketing hype aside, i see the E-M1 primarily as a device to help Oly move all those really good Zuiko digital pro-grade lenses they made, which other m 4/3 bodies weren't doing. But if you are primarily a video shooter, the GH3 is better, while the GX7 also has in-body stabilization and PDAF at a much lower price point. And even for someone who's thoroughly invested in m4/3--let's say a Pen upgrader--the GX7 or E-M5 are probably more practical options--not just because they cost less, but also because they are more compact and can do most of what an E-M1 does. it's a tough sell to try to upsell your consumer on a more expensive, smaller-sensor camera in what has become a crowded field where there are many options, from hi-end mirrorless, to low-end full-frame, to prosumer DSLR.
     
  59. here you go. it was on ming's page: http://blog.mingthein.com/2013/08/24/the-demise-of-the-dslr/.​
    Thanks. I see - it was linked from the review article. I don't see much evidence here though - there are some good arguments, but I would like to see some details from a camera manufacturer showing where exactly they saved most cost - assembly, repairs, parts cost?
    since i took your challenge, Laurentiu, now it's your turn: show me a clean MFT ISO 5000 and up shot with a lot of black areas -- not the colored backgrounds robin wong shot at the aquarium and post-processed very carefully, i'm sure--but a dim club with a lot of black shadow areas. you know, actual real-life crappy shooting conditions. it must be possible, since you said it was, right? btw, to achieve that same shot i posted, you'd need the voigtlander f/0.95 on MFT to match the DoF at f/2 on FF. but that's a manual focus lens, so good luck doing that with a moving subject wide open.​
    If you used f/2, the ISO I would need on MFT would be around 1000-1250 with an f/0.95 lens. Manual focusing is not tricky - it's not like your guy was running around - he seems to be sitting quite still. I have a night scene shot at ISO 3200 and f/0.95 - I'll do a B&W conversion so it shows even better and post it later today, just for kicks.
    In the meantime, here's a proof of concept with an inferior sensor (Pentax K-7), in better light, an using an f/1.2 lens manually focused wide open:
    [​IMG]
     
  60. Here's the low light exposure I mentioned. Looking at my notes, the aperture was either f/2 or faster, ISO is 3200, exposure time was 0.62 seconds, and this was taken handheld with the Olympus E-M5 and the Voigtlander 17.5/0.95. The actual light was dimmer than recorded, but correcting the exposure to make it look like what I was seeing would not be very interesting. I did no special processing. You can click through for a slightly larger image and more info:
    [​IMG]
    I shot this image as an experiment - I was just curious what the camera could produce at ISO 3200. The only thing I could clearly see was the light on the building, the lights further down the shore, and some of the reflections in the water. Half of the details I can see now, I did not notice then. I guess sometimes there are opportunities to shoot in pitch black and be happy that something came out, but this just isn't a requirement for what I photograph, so I don't have many such examples. This is probably the only ISO 3200 image in my flickr stream. I take many images in what is considered low light, but I find ISO 800 to be sufficient most of the time. The fact is that today's cameras offer performance that wasn't available a decade ago. I no longer feel the need to upgrade for a sensor performance boost - I just do it for features - I want the builtin grip of the E-M1, the ISO 100 and 1/8000 shutter speed, the improved EVF - I don't even expect the sensor to be as improved as early reviews claim it to be, but as long as the performance is equal to that of the E-M5, I'll be happy.
    Here's a night scene that is more typical of what I tend to shoot. This was taken at ISO 200 and f/2. The previous shore scene was shot from the left side of this street and this image gives a better idea of the light available in that area.
    [​IMG]
    And here is an example where I had to push the ISO to 800 (still f/2):
    [​IMG]
    I got more shots like this in my stream - just use the night tag to browse them.
     
  61. Basically both low and high ISO performance characteristics of the OMD cameras is about the same as Nikon's current DSLR bodies with the exception of the D3S and D4 (as previously mentioned, pixel for pixel. Pixel for pixel, even the D800 is really no better than the OMDs, but for the advantage the large sensor gives - most if not all of the IQ advantage is gained through downsampling.
    So is a full frame sensor preferred for low light shooting such as the sample you posted? Absolutely. But I don't think a skilled photographer (skilled with the camera and with post processing) would have trouble producing decent shot under similar shooting circumstances. Would it have the same level of detail as the D3S/D4? No. But without pixel peeping or viewing poster size prints from a few inched away, I doubt it would really matter. By the way, Olympus bodies have no issues producing good quality solid blacks even at high ISO.
     
  62. actually, Laurentiu, my guy was running around --a lot. i just happened to freeze his motion with a high shutter speed. it's trickier than it looks, actually. i wouldnt attempt that with an MF lens at all. and in the venue i was shooting at, ISO 1250 is not going to cut it at all. as i suspected, the E-M5 is ok at ISO 3200 with a longer exposure, but that's not even close to the type of scene and shooting conditions i was describing. do you have any ISO 5000-6400 shots, with fast shutters, shot in dim, interior environments with tricky lighting?
    thanks for sharing those shots, but they're not nightclub action shots, except for the first, which wasn't even shot with an MFT camera, but an APS-C body. thus, those are shots anyone could have taken with any camera. usually, when i shoot at this club, my shutter is around 1/160-1/200, which is why i need f/2 and ISO 5000. btw, i rarely do night landscapes, but when i do, i like to use a tripod and a longer exposure, at about f/8-11. i like the last shot, especially if it was handheld, but i would have like to see that same scene stopped down to f/8, with a longer exposure, at base ISO. if you rarely go above ISO 800, just about any modern camera will suffice. if you have, ah, specialized needs, you need a more specialized camera.
    00c0ce-542602084.jpg
     
  63. and, a color shot from that same show...
    00c0ci-542602184.jpg
     
  64. " E-M1 is a newer, more expensive body, for 90-95% of users, it's just as good as the E-M5, at a 400% price increase"

    Eric, the MSRP of the E-M5 is $999 while the E-M1 is $1399 - not quite a 400% increase! But the question really is does the photographer get $400 worth of value with the new body over the old body. I think there are enough enhancements to answer 'yes', especially for someone who is enthusiastic about photography.
     
  65. Well all the pictures are pretty nice. As far as stage pictures I never had any problem taking them at ISO 800 and 1/30th of a second at f1.8 when my kids were in High School Plays. I just used a 35mm for a long time (blue filter) and then when the Nikon D200 came out I used that. The WB helped out a lot. Both camera's are very noisy and not really very polite to take photos with loud camera's during a performance. So I used to wait until everyone was laughing or clapping before I would fire off the camera. Now I have the Olympus and you can shoot it anywhere and nobody takes notice. I do wish I would have just bought a Leica back in the day. It would have been smart to go mirrorless decades ago. I could have taken so many more pictures without waking the dead.
    One thing the Olympus has made me realize is how antiquated the 3:2 aspect ratio is. You know 16:9 is great for the monitor. 4:3 is also real nice as it crops so nicely for 4x6 prints for the family album and 8x10 for framing. I always found cropping the 3:2 for an 8x10 left some hard choices and you had to whack off 2 inches somewhere. The crop was just to severe. The 3:2 aspect ratio made since when everyone used to go to the drug store and get prints but time has moved on. The 3:2 needs the "boot".
    Anyway the photos are very nice. I did not see grain in any of them. My favorite of the bunch is the skyline picture with the lights. I always liked shots like that. One of these days when I am rich I will go to Vegas and take pictures of the lights.
     

  66. Eric, the MSRP of the E-M5 is $999 while the E-M1 is $1399 - not quite a 400% increase!​
    sorry, should have said 40%. still significant, though.
    As far as stage pictures I never had any problem taking them at ISO 800 and 1/30th of a second at f1.8 when my kids were in High School Plays.​
    umm, huge difference between a high school auditorium and a nightclub environment. no way i could get away with ISO 800 and 1/30 for moving subjects in dim light.
    Now I have the Olympus and you can shoot it anywhere and nobody takes notice.​
    this is a big plus for candids and street.
     
  67. The school plays were in a theater and the lighting varied according to the show and scene. Pitch black to fairly bright with stage lighting. However ISO/ASA 800 is what it is and all I had to work with. I always got some great shots however. The camera noise was always the main problem however.
    It sounds like your a professional and of course you have to use equipment that will handle the job you are working on.
     
  68. his is a big plus for candids and street.​
    The OMD should make a fine street rig. The touch screen thing is pretty cool. Just touch the screen and the camera will focus and fire instantly. Faster focus then anything I have experienced. The bad news is I have no interest in street photos. But when in the city I take street photos as practice, evaluation and then deletion. It helps keep you sharp in case your Grand daughter has one of those special mements that you would like to snag.
     
  69. duplicate post deleted...
     
  70. duplicate post deleted...
     
  71. Eric, just for you...
    1/125 sec; f/2.5; ISO 6400, Lumix 14mm f2.5
    The color values of the black are almost identical to the B&W image you posted.
    While I will not shoot a paid event without a body that has dual memory card slots, the OMD EM5 can do pretty anything the big guys can when it comes to IQ. Obviously a low res jpg does not show the detail (or lack of detail) but, as I have mentioned previously, as the pixel level, the OMD EM5 offers pretty much the same level of IQ as even the D800. And for most applications, the amount of detail the camera renders is more than sufficient. And with good software and post processing skills, the OMD EM5 delivers excellent quality high ISO images.
     
  72. attachment here
    00c0ne-542633784.jpg
     
  73. Elliot, a question please. You say you require two memory slots because you ( I will try guessing) -a., want the extra capacity if one is filled, or as I am still guessing -b. you want redundancy of storage, two cards filled with same image. Or-? I just wonder, because I have personally never lost personally lost a once in a blue moon shot for lack of redundancy, although I have often carried two cameras indeed to get two different lens perspectives and that kind of redundancy.
    My E-3 has two slots but I leave one empty( silly xD) because it gets kind of confusing to have two working media slots to load down and sort. Not sure how E-5 works, but I understand it has CF and SD for purchase variety. Have had great luck with Sandisk cards, btw... Can you amplify your comment for the record? Thanks a bunch. gs
     
  74. Gerry, IMO, anyone shooting for pay needs a backup just in case a card fails. While it is rare, it does happen. IMO, Olympus dropped the ball on this one feature - a 'pro' camera should have dual memory card slots. Both Nikon and Canon offer pro/semi pro cameras with dual slots. If I was looking for a new pro camera to use for paid events, I would not buy one without this feature. I am thrilled with my OMD EM5 and am considering the new EM1, but when shooting a paid event, I would have to use one of my bodies that has dual slots. Nikon's D600 used/refurbished is about the size of the EM1, and that to me would be a better choice just because of the dual card slots.
     
  75. I meant to say above that "Nikon's D600 used/refurbished is about the price of the EM1...".
     
  76. actually, Laurentiu, my guy was running around --a lot. i just happened to freeze his motion with a high shutter speed. it's trickier than it looks, actually. i wouldnt attempt that with an MF lens at all.​
    It is much easier to MF with a MILC than with an SLR. That is why I was glad to move away from SLRs. When you will finally make a decision to buy into such a system, you will get a chance to see for yourself.
    and in the venue i was shooting at, ISO 1250 is not going to cut it at all. as i suspected, the E-M5 is ok at ISO 3200 with a longer exposure, but that's not even close to the type of scene and shooting conditions i was describing.​
    Of course it is. It is even darker than your scene - that is why I provided it as an example. You shot at ISO 5000, f/2, and a shutter speed that supposedly froze the movement of a guy running around. Let's say it was 1/125, although it must have been more than that if he was really running. Well, my ISO 3200 shot, was also taken at f/2 but the shutter speed was 0.62 seconds. If I would have shot at ISO 6400, I would have needed about 1/3. That is more than 40 times less light than your scene had!
    So from the point of view of noise, my example can be used to judge the low light capability of the E-M5.
    do you have any ISO 5000-6400 shots, with fast shutters, shot in dim, interior environments with tricky lighting?​
    Why would I use such high ISO when I have faster apertures available? I only need to match your ISO 6400, f/2 shots with ISO 1600, f/0.95. If you don't understand why, read about equivalence. And I have shots taken in similar conditions but they won't be taken in the exact same conditions and you'll always find something to pick on, as if the sky could fall if one would bump the ISO from 3200 to 6400.
    Where I cannot match the performance of FF cameras is in low ISO performance - because the E-M5 MFT sensor does not provide me with lower ISO settings - in fact, it doesn't even provide me with an ISO 100 setting. But even there, the differences would not be very noticeable at the sizes at which we exchange samples, as Elliot has pointed out already. We would have to go into pixel peeping.

    Performance of large sensor cameras is matched by smaller sensor ones at lower ISO with faster apertures. The problem is of course that smaller sensor cameras usually don't get faster lenses than large sensor ones. But the MFT system has plenty of lenses faster than f/1.8. Why do you think the FT zooms were f/2? It was to make the system competitive to APS-C systems matched to f/2.8 zooms. f/2 zooms offer a one stop advantage that more than compensates the 2/3 stop light gathering advantage that APS-C has over MFT. Understand this and you'll understand why MFT has no problem matching the performance of APS-C.
    thanks for sharing those shots, but they're not nightclub action shots, except for the first, which wasn't even shot with an MFT camera, but an APS-C body.​
    That shot was meant to illustrate that manual focusing can be effective with a wide aperture in low light, even on an SLR that provides little aid for manual focusing. On a MILC, it is even easier. That APS-C body also has much inferior low light performance compared to the E-M5 - I can vouch for that with my experience or you can just check dxomark if you don't believe me.
    thus, those are shots anyone could have taken with any camera. usually, when i shoot at this club, my shutter is around 1/160-1/200, which is why i need f/2 and ISO 5000.​
    Right, so you are really shooting in conditions where you have 50+times more light than I had available in my ISO 3200 scene. Do you still think that your shot is a better demonstration of low light capability than mine?
    btw, i rarely do night landscapes, but when i do, i like to use a tripod and a longer exposure, at about f/8-11. i like the last shot, especially if it was handheld, but i would have like to see that same scene stopped down to f/8, with a longer exposure, at base ISO.​
    From the point of view of DOF, f/2 on MFT is like f/4 on FF. f/8 would be like f/32 - you get diffraction effects at that point. f/4 might be better, although I kind of like the thinner DOF in such scenes - it gives a sense of depth. My style of photography at this point can indeed be described as snapshot and exploratory - I rarely take my tripod outside my home and I don't have a clear goal, I am just testing what I can do.
    if you rarely go above ISO 800, just about any modern camera will suffice. if you have, ah, specialized needs, you need a more specialized camera.​
    Certainly. But the reason I rarely need to go above ISO 800 is because the MFT system allows me to do that via specialized features:
    • I have f/0.95 lenses available: 17.5mm, 25mm, and now also 42.5mm - these give me 3 classic perspectives (35mm, 50mm, and 85mm in FF terms) and cover all my needs for low light photography. I gain at least 1 stop advantage from these (over APS-C).
    • I have a good image stabilization system that allows me to shoot at low shutter speeds. I gain at least 2 stops advantage over any system lacking this feature.
    Were I to shoot a camera with no image stabilization and slower lenses I would often end up having to use higher ISO values than 3200. The lack of those 3 stops of advantage would push me from operating within 200-800 in low light conditions, to using 1600-6400 instead and perhaps even more. I would certainly need high ISO performance then. And that would be the case with any APS-C MILC system that you mentioned as competition for the E-M1. And that is why I don't really see those cameras at competition - not until they gain in-body image stabilization and faster lens options in their lineup.
     
  77. 1/125 sec; f/2.5; ISO 6400, Lumix 14mm f2.5
    The color values of the black are almost identical to the B&W image you posted.​
    Thank you for providing this example!
     
  78. When I bought my Olympus OMD EM-5 I did not consider the FF camera as an option. After thinking of a new camera for a couple years I decided to consider the Olympus, Nex and the Canon 60D. Even though I had NikonDSLR system I was wanted to jump ship because Nikon did not offer a camera that I really wanted. They only have the D7100 in the line up that I would consider and the gat rip and squishy looking body did not appeal to me so I ruled out Nikon. The new small mirrorless Nikon did not appeal to me as I just did not want a sensor that small. In the end I bought the EM-5 at Keeble and Schuchatt in Palo Alto Ca. Nice folks in there and they spent a lot of time showing me the different models. If I was currently looking at camera I would still buy the EM-5 because I like the camera without the extra grip and of course the lower cost. I did like the Canon DSLR but it was still going to be big and heavy and the construction did not hold up to the Olympus. Weather sealing was important because I go sailing every Wednesday evening during the season. I wanted to be able to take some spray.
     
  79. Eric, just for you...
    1/125 sec; f/2.5; ISO 6400, Lumix 14mm f2.5
    The color values of the black are almost identical to the B&W image you posted.​
    well, that is a fairly black image. and it is ISO 6400. not exactly an action shot, however. i was really hoping for something with identical shooting conditions. thanks for posting, but i'm not convinced. that's a noisier/less detailed central image for sure than what i posted, so you might just be looking at NR smearing which blacks out the blacks but also robs sharpness from the central image. . also, i failed to mention that nightclub venues often have strong contra light which can further strain a camera's ability to cope at upper-echelon ISOs. most reviews i've read of _ALL_ m4/3 bodies have recommended not going above 3200 practically, and that's for the latest-gen.
    Nikon's D600 used/refurbished is about the size of the EM1, and that to me would be a better choice just because of the dual card slots.​
    This is actually a really critical point because the lack of 2 card slots signifies the camera maker doesnt fully consider it a pro camera 9including scene modes is another). for $1400, the E-m1 should definitely have two card slots, allowing Raw/Jpeg, backup, continuous, or stills/video. the other point about the two cameras being the same size also undermines the m 4/3 ethos: how micro can it be, if it's the same size as a FF body?
    It is much easier to MF with a MILC than with an SLR.​
    maybe so, but if i'm photographing action, i want AF, and the best AF i can get. if i was going to use MF on a mirrorless for moving targets, i'd want focus peaking like the NEX. does the OMD E-series have that?
    Well, my ISO 3200 shot, was also taken at f/2 but the shutter speed was 0.62 seconds. If I would have shot at ISO 6400, I would have needed about 1/3. That is more than 40 times less light than your scene had!​
    no, completely different shot. mine emphasizes action. obviously you can't freeze motion at .62 or 1/3. if i was to drop my shutter i could have lowered my ISO but so what? that would have meant i screwed up the shot. that's the opposite of what i'm trying to do. just because you can quote a statistic doesnt make it a relevant statistic.
    thanks for sharing those shots, but they're not nightclub action shots, except for the first, which wasn't even shot with an MFT camera, but an APS-C body.
    That shot was meant to illustrate that manual focusing can be effective with a wide aperture in low light, even on an SLR that provides little aid for manual focusing.​
    i'm starting to think that you think if you argue enough, you'll be right. in actuality, i asked you for a comparable shot with an M4/3 body and you gave me a shot which wasn't comparable, nor shot with an m4/3 body. no amount of equivocation can change those basic facts.
    Do you still think that your shot is a better demonstration of low light capability than mine?​
    yes, because we're talking about specific conditions and a usable (printable/publishable) shot, not some random grab shot of a waikiki mall. again, you ignoring anything that doesnt support your premise is wearing thin.
    From the point of view of DOF, f/2 on MFT is like f/4 on FF​
    which is 2 stops -- that can make a significant difference in subject isolation.
    the reason I rarely need to go above ISO 800 is because the MFT system allows me to do that via specialized features:
    • I have f/0.95 lenses available: 17.5mm, 25mm, and now also 42.5mm - these give me 3 classic perspectives (35mm, 50mm, and 85mm in FF terms) and cover all my needs for low light photography. I gain at least 1 stop advantage from these (over APS-C).
    that's a more interesting argument, albeit one which is a bit off-topic. what's interesting is those specialized features you mention, i.e. the voigtlanders, cost $1000 each. so, that's $4400 with an e-m1 body, or more than a nikon d600 with 35/50/85 1.4 sigma lenses, plus you're forced to use MF. i understand the accentuate the positive theme, but why wouldn't i get a d600 and those three lenses for that same amount of cash -- and also get the superior FF performance at high-ISO?
    I have a good image stabilization system that allows me to shoot at low shutter speeds. I gain at least 2 stops advantage over any system lacking this feature.​
    merely ticking off the camera's marketing copy doesnt change the fact that stabilization wont help you freeze subject motion. but, i suppose that's a mantra you have to repeat to yourself to justify all the cash you've poured into your system.
    let me put this another way: the reason you dont need to go over ISO 800 is because you're not shooting the same stuff i shoot -- which makes your argument moot.
    here's a shot from this past weekend, shot with d3s and 70-200VRII. tech specs were 1/200, 3.2, ISO 6400.
    00c1NC-542698084.jpg
     
  80. Eric, I am not sure what your point is?
     
  81. if i'm photographing action, i want AF, and the best AF i can get.​
    Certainly, but we were discussing sensor performance, not autofocus.

    But if you want to talk autofocus, I am interested in what APS-C MILC system (there not being any FF one yet) you think offers better AF than MFT.
    if i was going to use MF on a mirrorless for moving targets, i'd want focus peaking like the NEX. does the OMD E-series have that?​
    Yes, the E-M1 and some Pens have that. Not that it would be that reliable with thin DOF and in dark places, but you're welcome to try it out.
    in actuality, i asked you for a comparable shot with an M4/3 body and you gave me a shot which wasn't comparable​
    Like I said already:
    I have shots taken in similar conditions but they won't be taken in the exact same conditions and you'll always find something to pick on​
    I know already what you are going to pick on. You've lost the argument about sensor performance and now you're trying to redirect the argument towards autofocus, cost, anything else but to avoid admitting that the performance difference between formats is not really that relevant anymore.
    Why wouldn't i get a d600 and those three lenses for that same amount of cash -- and also get the superior FF performance at high-ISO?​
    For various reasons: size, build, preference for an EVF and the features it enables, ability to adapt lenses from other systems, not wanting to spend money on an SLR mount that may be discontinued by the end of this decade - take your pick.

    So much for bringing up cost. High performance equipment will always cost. You're not going to save much money by jumping across systems - except if you only need some lenses that happen to be significantly cheaper on one system.
    merely ticking off the camera's marketing copy doesnt change the fact that stabilization wont help you freeze subject motion​
    Stop belittling my remarks as "merely ticking off the camera's marketing copy" or I'll also start qualifying your remarks in ways you won't find very comfortable. IBIS does provide an advantage for many scenarios which happen to be my main scenarios even if they are not yours. And yes, for freezing subject motion, I would need to use higher ISO for that scenario. But as I demonstrated already the ISO 3200 performance, it follows that I have enough latitude when I need to bump the ISO.
    let me put this another way: the reason you dont need to go over ISO 800 is because you're not shooting the same stuff i shoot.​
    Of course, the ISO 800 was what I need to use for my scenarios, not for yours. As we already discussed, for your scenarios I may need to use ISO 1250 and I can go higher if I need it. It's not a big issue - you're just trying to make it sound like one. That is pretty much all you've been doing - blowing the impact of a technical aspect (MFT sensor size) out of proportion and ignoring any other mitigating factors.
    here's a shot from this past weekend, shot with d3s and 70-200VRII. tech specs were 1/200, 3.2, ISO 6400​
    Yes, and now to come back to our argument, let me know what APS-C MILC and what lens combo can do better in this scenario than MFT. What competition does the E-M1 have from other MILCs for this particular scenario.
     
  82. The Olympus EM-1 is going to have the best AF of the mirrorless models in current production. I have the EM-5 and it has the best AF of any camera I have ever owned. But I have only owned a Nikon N80, F100 and D200 (AF models). I decided to jump ship on the Nikon system as they do not have a model I wanted and I am reluctant to spend much on a dying camera system. So here I am with the Oly. I will not be buying the EM-1 as I just bought a new camera but in 5 or 10 years I will most likely be shopping again.
    Now that I have video I can see that I would probably be fine just shooting video and selecting out single frames from that. I am using my EM-5 that way now along with stills. So maybe the next camera I buy could just bypass the stills aspect and go straight to video. But we shall see.
     
  83. Interesting thread. Thanks to Laurentiu for the link!


    I think we're forgetting somethingThe noise levels from this camera's sensor are very low, no doubt. No doubt at all. But the quality of the noise is unpleasant to me. I'd rather look at Lomography CN 800. Grainy, but beautiful. .


    I am not impressed with most M4/3 lenses, BTW. They're no worse than Canon or Nikon lenses - in fact, some are better. Still, the M4/3 system is almost the perfect compromise between sensor size and image quality. Not a bad thing at all.


    Thie EM-1 is, overall, brilliant, and if I had to choose between this and a DSLR, I'd choose the EM-1. I currently use the Sony NEX with adapters. Looking at maybe a Leica M9 or two (yes, even after seeing the low noise of the Olympus). Looking at shooting more film, too, including half-frame (4-perf 35mm). I say all that so you know where I'm coming from.


    And yes, I have done (and will do) paid work, and some of that was with an NEX. :)

    With the E-M1, we see the size starting to creep back up into DSLR territory​

    The evidence refutes this assertion:


    http://www.dpreview.com/previews/olympus-om-d-e-m1/4

    While some program can reduce and/or eliminate moiré issues, you cannot remove it from video.​

    You probably can get away with a light fog or low contrast filter. In fact you probably should use those for video.

    wide apertures with shallow DoF

    you'd need the voigtlander f/0.95 on MFT to match the DoF at f/2 on FF​

    I find it difficult to understand the obsession with shallow DOF.
    It's kind of like the film vs digital threads. The film guys kicking and screaming about digital while going over to the other side one by one. Now the King Kong camera folks with their old fashiioned camera's are kicking and screaming as they come over one by one to the modern world of mirrorless.. All the while the cell phone is slowly putting everyone out of business.​

    I happen to believe that DSLRs are redundant for the most part. How reflexes significantly overtook RFs, I'll never understand.

    The 3:2 needs the "boot"​

    You're not wrong. I still use it, but the NEX cameras do have an option for 16:9.
     
  84. I guess on the 3:2 thing maybe it needs the boot and maybe it doesn't.. For me the 4:3rds aspect ratio replaced the 3:2. It is a better choice for me as it crops well for the sizes I print at. Also I always disliked the 3:2 for verticle shots. Just to long and skinny for me and for years now I have pretty much shot everything horizontal. That is not an issue for me any longer. I do like the 16:9 aspect ratio as it fits my monitor. So I usually shoot a few of those.
     
  85. we were discussing sensor performance, not autofocus.​
    now you're trying to limit the conversation to your own comfort zone. sorry, but somewhere in this thread you made the claim that M4/3 can do anything any other camera can do. that is simply not true;if it was, no one would use FF or APS-C cameras.
    Of course, the ISO 800 was what I need to use for my scenarios, not for yours. As we already discussed, for your scenarios I may need to use ISO 1250 and I can go higher if I need it. It's not a big issue​
    let's be real here. m 4/3 can go up to about ISO 3200 (cleanly), just like today's (less expensive) APS-C bodies. after that, the sensor limitations do come into play by introducing higher noise into photos. i regularly shoot in environments where i need to go much higher than 3200. therefore, m 4/3 is not going to give me the same level of performance as my FF body. the problem with your argument is you are trying to insist that sensor size plays no role whatsoever and has no impact on performance. the laws of physics dictate that that cannot possibly be true. which is why an e-m5 or e-m1 is never going to beat a nikon D3s in hi-ISO performance.
    You've lost the argument about sensor performance​
    i dont think so, i think you're just being stubborn. OTOH, you've clearly lost the argument about there being no competition for the e-m1.
    What competition does the E-M1 have from other MILCs for this particular scenario.​
    this is a trick question because the e-m1 can only match the performance of a pro-spec DSLR with a pro-spec lens like the 70-200 VR II with legacy 4/3 lenses. if you dont have one of those, you dont get to fully utilize the camera's AF array and use PDAF completely. this is not a big deal for you because you dont shoot action. but for those of us who do, that is indeed an issue. other MILCs can't match this yet either, which is why you dont see pro shooters using them, except as secondary/backup cameras, or for video.
    With the E-M1, we see the size starting to creep back up into DSLR territory

    The evidence refutes this assertion:​
    well, not exactly. from thom hogan: "The biggest difference between the E-M1 and D7100 is weight (D7100 is only 54% heavier than the E-M1, while it is 91% heavier than an E-M5). In size, they're nearly the same width, the D7100 is 14% taller (but has a flash up there that the E-M1 doesn't), and the mount differences make the D7100 20% thicker than the E-M1."
    The point was that while you can make a case for m4/3 as a compact system when used with short zooms and primes, the e-m1 goes against that school of thought by being bigger and heavier than the e-m5 and other m 4/3 bodies. it's clearly intended to be used with Olympus 4/3 glass, some of which is fairly massive. so right there, the size advantages go out the window. note that i didnt say the e-m1 is the exact same size as competitive DSLRs, i said it's "starting to creep up into DSLR territory."
    I am interested in what APS-C MILC system (there not being any FF one yet) you think offers better AF than MFT.​
    another trick question, trying to put words in my mouth i didn't say. as i mentioned earlier, i'm waiting on the next iteration of the Fuji X-mount cameras, i.e. xpro2. the first-gen cameras were pretty slow, just like the first-gen m 4/3, but the AF in the x100s is reputedly up to snuff. so it stands to reason the 2nd-gen will at least be as good as the x100s.
    that said, none of the above matters for anyone who has already invested into m 4/3 and wants a better body. but for those of us who havent--which is obviously a much larger segment--all relevant criteria is going to be assessed before the trigger is pulled, including size, performance, features, available lens selection, and price point. So not only does the e-m1 face significant competition from current bodies, it also faces competition from cameras which haven't been announced yet. i have no doubt i could use the e-m1 for some of what i shoot and remain reasonably convinced it would perform admirably. however, the same could be said of a gx7, e-m5, x100s, or nex-7. if there truly were "no competition," i would have already placed my pre-order on the e-m1. i am, however, looking forward to real-world shots from early adopters, and at that point i will re-evaluate and adjust my opinion accordingly.
     
  86. Eric, since it appears you do not have the camera(s) in question (or any other MFT body), just curious how do you know so much about what they can and cannot do?
     
  87. I would not really care if a big heavy DSLR would wash the dishes and make coffee. I do not want another one even for free.
     
  88. Well on second thought I would take it for free and then sell it to BHPhoto or KEH.
     
  89. now you're trying to limit the conversation to your own comfort zone. sorry, but somewhere in this thread you made the claim that M4/3 can do anything any other camera can do. that is simply not true;if it was, no one would use FF or APS-C cameras.​
    No, Eric, you've missed the point of that challenge. Your initial comments were about the lack of DR of MFT sensors, which to me was the sign of an armchair analyst at work. So to get back to reality I challenged you to demonstrate the superiority of the APS-C/FF sensors. As it turns out, your use scenario doesn't even require high DR - you are in fact shooting at such high ISO settings that your camera's DR falls under 10Ev and even under 9Ev - you just don't need that much DR for your night club scenes. Instead, what you actually do need is AF, a point where MFT leads in performance among MILCs, so your dismissal of MFT in favor of Fuji/Sony systems now comes out as *insert your own qualification here*.
     
  90. If you will pardon me for jumping in...
    I can say categorically that at least two members of Magnum are using M43 cameras for assignments, so some pros are certainly seeing the benefits of the system.
    I just returned from 10 weeks shooting projects and assignments in SE Asia. I took a 2 body Nikon kit (D3s) with the Holy Trinity and a Panasonic GH3 with the 12-35 f2.8 and 35-100 f2.8.
    My camera bag weighed 17kg. Since I took 12 flights and carried that bag on, I was fairly paranoid because the maximum limit on all the flights (3 different carriers) was 7 kg. Combining that bag weight with 30+ centigrade and 90+% humidity was not my idea of fun.
    I did paid work on the trip and shot for an outdoor exhibition which opens in 10 days and has around 60 prints at A1 size.
    About 75% of all my work on the trip was done with the GH3 because the Nikon stuff was just such a PITA to carry.
    Every piece of that Nikon kit is now headed to the dealer having been PXd for a 2 body EM-1 system. Yes the IQ at low light levels is better. Yes the battery lasts longer and yes I am losing my second card slot (something I am annoyed about but will have to work around somehow). I sent the GH3 back too - too much video not enough stills in the DNA.
    The new 12-40 f2.8 and 40-150 f2.8 are likely to be outstanding (the 12-40 reviews all agree it is, the 40-150 is due next year and is likely to be equally good): combined with the tiny but excellent 12mm f2 for keeping ISO lower in poor light I am confident the gains will exceed the losses for me and my work (NGO, charity, government and commercial).
    I know my back will be the better for it. Due to the lower cost, insurance premiums will fall and body replacements in 2 years will cost 25% of the current system.
    This solution won't work for everyone, but for some it will. Horses for courses, as they say. I hope that the EM-X in 2 years time has 2 card slots - I am betting it will, even if one is in the battery grip.
    00c3A9-542927584.jpg
     
  91. Just a quick point about more than one card slot: many, if not most, cameras have only one card slot. Many photographers, a lot of them working for money, used and still use those cameras. YMMV.
    I am not saying that two card slots is bad. However, I don't factor this into the equation. I usually have two (maybe three - maybe) camera bodies when I'm on a job, which is IMHO more important than the second card slot.
     
  92. Good point, Karim - and it shows how quickly we accept new things as de rigueur!
    AFAIK a Leica M has one slot for example and until very recently hardly any others did.
    I do sometimes wonder why more cameras do not have an internal memory chip you can use - they are pretty small and a spare 16gb overflow would be a lifesaver in some circumstances.
     
  93. Until you have lost irreplaceable images due to a faulty memory card, you probably cannot appreciate the need for a 2nd memory card slot. While it doesn't happen often, memory cards do fail. IMO, anyone shooting a wedding or other special event should use a body with 2 memory card slots.
    I have no problem with this new body or my OMD EM5 only having 1 slot. But as someone who has had cards fail in the past, I will not shoot a paid event without a body that has 2. If the EM1 had 2 slots, I would get a couple and get rid of my other gear.
     
  94. FWIW,
    I am currently a Canon DSLR owner with a fairly significant investment in lenses who is eagerly looking to shed all of the weight of my Canon gear.
    I've handled and briefly shot the GX7 at a local demo by pros who have adopted the m4/3s system and it is a very fine camera. I've not touched the E-1 yet but I have no doubt it is a fine performer with an excellent feature set.
    To begin my journey with m4/3s I purchased a Lumix GX1 with EVF as an inexpensive 'learner' camera and have been buying quality primes, adding about one a month. My latest acquisition is the Olympus 60mm f/2.8 macro and my results with it easily compete with my Canon 100mm f/2.8 macro. The PL 25mm f/1.4 is optically a tiny jewel along with the Olympus 45 f/1.8. My point here is that there is little want for quality optics compared to the big boys. When you add to the mix that the new E-1 can handle Olympus 4/3s lens line there is little a pro couldn't choose from to meet their needs. To reap the maximum IQ from m4/3s quality optics deliver the goods though at a price. One could easily get by with a 3 zoom kit using the 7-14, 12-35, & 35-100 zooms. The weight of that kit with 2 m4/3s is probably less than my EF 70-2oo f/2.8 alone!
    Having said all that there are still some holes in the Panasonic/Olympus offerings such as their TTL flash offerings when compared to Nikon or Canon. The GX7 doesn't have a PC connection and AFAIK, none of the m4/3s body have a depth of field preview button.
    My plan is to purchase a GX7 first followed by a E-1 after prices drop or the used market opens up for these bodies.
    I will keep my Canon system - for a while but eventually it will go. I'm not a pro by trade but have and do occasionally shoot for hire. There is little doubt in my mind that the latest m4/3s can function in a pro role. And there is one thing that goes understated about the m4/3s format and that is the aspect ratio, much less confining for me than the 2:3 ratio.
     
  95. Don, I don't think you will be disappointed.
    I'm personally (YMMV!) less impressed with the Panasonic offerings than the Olympus offerings but I have a somewhat curmudgeonly view of video and so that probably colours my view there! For me, video belongs on video cameras, not my stills cameras and is as much use to me as an ashtray on a motorbike.
    You presumably live in the USA where prices actually fall - I live in New Zealand, where they never do so until the replacement for a camera is actually out and there is never any significant difference between MRRP and so-called 'street' price - so it makes no sense for me to wait. All I do is deprive myself of the benefits of the EM-1 system in the meantime!
    In real world shooting, unless you shoot sports for a living, frankly the modern m43 cameras can compete perfectly well for most uses now.
    I may well combine mine with the rumoured new Sony FF mirrorless system which is apparently going to be available in two bodies very soon, one offering 24Mp and one offering 36Mp and both costing less than $3000. That would give a high res small option and a lower res tough, fast option and all weighing masses less than Canikon offerings.
     
  96. My point here is that there is little want for quality optics compared to the big boys.​
    What is missing are high-end zooms, but Panasonic and Olympus have started working on it and the E-M1 now permits the better use of the f/2 FT zooms.
    For me, video belongs on video cameras, not my stills cameras and is as much use to me as an ashtray on a motorbike.​
    I'm not yet interested in video, but the fact that Blackmagic uses the MFT mount for their video cameras is a big appeal for the system.
    You presumably live in the USA where prices actually fall - I live in New Zealand, where they never do so until the replacement for a camera is actually out and there is never any significant difference between MRRP and so-called 'street' price - so it makes no sense for me to wait.​
    If it's any consolation, prices for the E-M5 have not fallen as much as for other Olympus camera models. The model is still kept in production, so I expect its price will keep steady for another year.
     
  97. Olympus have a 40-150mm constant f2.8 weathersealed pro zoom for M43 to be released in 2014. It matches the excellent 12-40 f2.8 being released with the EM-1
    That gives 24-300 equivalent at f2.8 in only 2 lenses, built to high standards and full weather sealing.
    One of each on 2 EM-1 bodies and that is a pretty fair lightweight option and that's what I am doing. A similar quality fast UWA (a 7-12 f2.8 is assumed) is promised for 2015 or 16, which will give 14mm - 300mm at f2.8 in 3 lenses.
    I shall be adding the shortly to be released Sony A7 24mp mirror less with a fast 35mm on it for the portable high IQ option - or a Sony RX1R if that is cheaper.
     
  98. Wanted to order the E-M1, but it's out of stock everywhere. I should have preordered it. But maybe it's for the better and I'll get more time to think of whether I should pick the pairing with the 12-40 lens.
     
  99. I pre-ordered an EM-1 for a trip. It showed up late so I walked away from it and will wait for the kit. Ant the same time, I
    may consider the new Sony NEXes but the 35 is a 2.8 and all the lenses I have seen are quite big.
     
  100. Laurentiu - Ming Thein has a very good look at that lens on his blog. he said:
    "In a stroke, I think this lens becomes the defining do-it-all-and-anywhere for M4/3; yes, it’s a bit large, but the useful range, reasonably large aperture, solid build, outstanding optics, very close minimum focusing distance more than outweigh that. It’s not a cheap lens; but then again, I can’t think of any others with the same spec that are. Optically, this is one of the best zoom lenses I’ve ever used. It can replace a couple of primes in your kit quite easily; paired with the 75/1.8, I suspect this will make an outstandingly flexible travel combination. And yes, I’ve ordered one to go with my E-M1. MT"
    http://blog.mingthein.com/2013/09/13/lens-review-the-olympus-12-40/
     
  101. Thanks Marcus, I had read that, but my questions are more about whether it makes sense for me to buy this kind of lens. :)
     
  102. I like this: http://www.sansmirror.com/newsviews/the-e-m1-versus-the-e-m5.html from Thom Hogan. The EM-1 looks like a great camera that's too expensive and probably too physically big for me.
    The big winner, it seems to me, is anyone with an expensive collection of 4/3 lenses who wants a modern body.
     
  103. Interesting Tom. For me, it is too small. When asked whether I wanted free battery grips or free 4/3 adaptors with my 2 bodies I ordered the free battery grips without pause because without them the cameras are just too small for me to be comfortable and confident holding them. Also of course it means double battery life and the batteries are really one of the more pathetic parts of the camera!
    Laurentiu - ah; well that wisdom you must seek alone!;-)
     
  104. Just put my new EM-1 through its paces on the weekend and am very pleased. In every respect I can think of it is an improvement over the EM-5, but in an evolutionary rather than revolutionary way.
    Sizewise it is about the same as the EM-5 so anyone concerned about whether it is too big compared to the EM-5 need not worry.
    Ergonomics are improved compared to the EM-5. The grip makes a big difference. The smaller and more numerous AF boxes are just as easy to use but more precise now. The EVF is really good. Having set up the EM-5, the EM-1 was quick to set up and ergonomics quick to get used to.
    The functions buttons are more accessible and assigning the two front buttons to DoF preview and custom WB works really well. You hardly ever need to go into menues once set up.
    The IBIS seems to work better than the EM-5.
    About the only thing I have not yet detected an improvement in is the IQ, which unscientifically seems about the same as the EM-5.
     

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