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Does Olympus Still Have a Place in the Camera Market?

06 Apr

The post Does Olympus Still Have a Place in the Camera Market? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

These days, all the camera headlines seem to be dominated by Canon, Nikon, and Sony, with the occasional mention of Fujifilm thrown in.

Olympus, with its Micro Four-Thirds system, rarely makes the news. And popular resources frequently neglect Olympus in their recommendations, suggesting “Big Three” bodies for photographers selecting a mirrorless system.

But what is this about? Why doesn’t Olympus, a camera company with a history stretching back to the early 1900s, get any attention?

Is this a mistake?

Or does Olympus no longer have a place in today’s camera market?

That’s the question that this article will answer. I’m going to explain the benefits and drawbacks of Olympus cameras compared to other manufacturers.

And then I’m going to give a verdict:

Whether Olympus is a manufacturer that still makes sense in today’s world…

…or whether Olympus’s time is up.

Let’s get started.

Person holding an Olympus mirrorless camera.

The cons of Olympus

No camera system is perfect, which means that there are going to be some photographers that won’t be satisfied with Olympus’s products.

Here are the key issues that consistently come up with Olympus cameras, issues that help explain why Olympus hasn’t been getting much interest of late:

1. The micro-four-thirds sensor

In many ways, the lack of interest in Olympus stems from one thing:

The Micro-Four-Thirds sensor.

Olympus only produces Micro-Four-Thirds mirrorless cameras. The company offers zero full-frame options and zero APS-C options.

Canon, Nikon, and Sony all produce full-frame mirrorless cameras. Even Fujifilm, which ignores full-frame, offers APS-C sensors that push smaller sensor technology to its limits.

Why is this such a big deal?

Larger sensors offer two key qualities over smaller sensors:

Better high-ISO capabilities.

And better dynamic range.

So if you’re someone who requires either of these features, you’re going to feel compelled to buy a full-frame option over a more limited MFT body. For instance, you’ll be hard-pressed to find landscape shooters who don’t use a full-frame body. Landscape photographers frequently deal with high dynamic range scenes and need to maximize low-light image quality, which is why a full-frame camera is the tool of choice.

2. Resolution

A larger sensor doesn’t guarantee high resolution.

But it is closely correlated with it. All of the high-resolution camera models in the mirrorless market today are full-frame.

And when it comes to the megapixel race, Olympus hasn’t been doing so well. The company’s most professional bodies top out at about 20 MP, with some of their models only coming to 16 MP.

Olympus's bodies just don't compete on megapixels.

Here’s the thing about megapixel counts:

While they often don’t much affect the average photographer…

…they are real attention grabbers.

A big portion of camera headlines is dominated by the latest megapixel marvels, which means that Olympus, with its 16 and 20 MP sensors, just doesn’t get much coverage.

The E-M10 Mark III is a low-resolution camera. — Olympus’s OM-D E-M10 III only offers 16 MP.

And resolution is talked about so frequently that the need for a high megapixel count is burned into the mind of almost every beginner photographer.

Don’t get me wrong:

Megapixels do matter.

But they only matter to some photographers – those that need to maximize detail, printing sizes, or cropping potential.

For others, more megapixels are just a comforting spec, but not a feature that’s truly necessary.

3. Crop factor

Here’s the final issue with Micro Four-Thirds cameras:

You get a huge, 2x crop factor.

And this makes basic wide-angle lenses (e.g., in the 20-30mm range) become standard focal lengths.

For landscape photographers, this is a huge issue. For sweeping scenic shots, you’re going to need a system that can offer true wide-angle coverage.

Though this 2x crop factor can be a benefit for photographers requiring a lot of reach, such as those who shoot sports or wildlife.

4. Electronic viewfinder quality

It’s a fact:

Olympus’s electronic viewfinders just aren’t that great.

Their best cameras offer a 2.36M-dot resolution, and it just doesn’t look that good compared to many Sony, Canon, Nikon, and Fujifilm options.

So for photographers coming from DSLRs and requiring a clear, sharp EVF experience, Olympus’s options don’t cut it.

The pros of Olympus

Though Olympus doesn’t get much attention, there are things that Olympus is doing better than pretty much every other camera manufacturer out there:

1. Camera and lens size

One thing that Olympus does really, really well:

Camera system compactness.

This is where the micro-four-thirds sensor really starts to pay dividends, keeping camera body size way down and keeping lens size equally small.

In fact, while cameras by Sony and Fujifilm, in particular, are often very compact, these systems will often come back to bite you when buying lenses. Mirrorless glass is often as big as DSLR glass, and this can be a problem. For one thing, bigger and heavier is just a pain to deal with, plus big lenses feel unbalanced when mounted on a compact camera.

So if you’re a travel photographer, you’ll love how easy it is to pack Olympus kit.

If you’re a street photographer, you’ll love how small and unobtrusive Olympus systems really are.

And if you’re a wildlife photographer who spends days hiking in the field, having a light, small body can be a real lifesaver.

2. Shooting speeds

If you take a close look at Olympus specifications, you’ll see that a number of their cameras offer shooting up to 60 frames per second.

And I’m talking still photography, not video.

Some of Olympus's cameras offer truly incredible continuous shooting speeds.

Let me clarify:

You can shoot at 60 fps with no caveats, no cropped sensor, no drawbacks (though it is with the electronic sensor, rather than the mechanical one).

This is a huge benefit for anybody doing high-speed or action photography. Of course, you’re going to fill up your memory cards pretty quickly if you use the 60 fps option all the time, but this high-speed option is dead useful in certain situations where you just can’t miss the shot.

And by the way, you also have an option to shoot in Pro Capture mode, which ensures that the camera starts taking photos when you press the shutter button halfway. Then, when you finally press the shutter button down all the way, the last dozen or so images are saved to your memory card (along with any images taken after you fully hit the shutter button). This is fantastic for getting unanticipated shots, be it in sports or wildlife or event photography.

So if you’re the type that wishes for serious high-speed shooting capabilities, the Olympus cameras are definitely worth a look.

3. Image stabilization

Here’s the final key benefit of Olympus cameras:

They offer the best in-body image stabilization of any mirrorless camera system.

Some Olympus cameras offer seven or more stops of stabilization when including a stabilized lens, which allows for handholding down to 1s and longer (depending on the focal length and the steadiness of your hands).

If you’re the type of photographer who prefers to work without a tripod, this is the absolute best possible way to do it. You can capture gorgeous scenics using narrow apertures and not have to worry about camera shake.

Plus, even for the tripod-happy photographer, there are going to be times when carrying such support just isn’t feasible. But if you have an IBIS-equipped Olympus camera with you, you’ll be able to get a similar range of shots without a tripod.

So does Olympus still have a place in the 2020 camera market?

Absolutely.

Though Olympus systems do come with a few drawbacks, they also include characteristics that no other camera manufacturer can match. Characteristics such as:

Camera and lens compactness
High-speed continuous shooting
In-body stabilization

Are these benefits worth it for everyone?

No. If you’re a landscape photographer who plans to make huge, wall-sized prints, you’re going to want to pick a different system. If you’re a sports photographer who requires the best autofocus system that money can buy, Olympus probably isn’t your best bet either. And if you’re an event photographer who consistently shoots with four or five-digit ISOs, then I doubt that Olympus is for you.

But if you’re a photographer who prizes a compact system over everything else, someone who:

Travels frequently
Goes on long hiking trips
Needs blazing-fast continuous shooting
Needs an unobtrusive system for street photography
Just hates being weighed down by heavy equipment
Doesn’t like carrying a tripod

…then Olympus is going to be just what you need.

So before you buy a Sony, Canon, Nikon, or Fujifilm body, ask yourself:

Might Olympus be the better choice?

Maybe it’s not. You might do better with another system.

But it’s at least worth considering!

What are your thoughts on this? Do you have anything you could add? Please do so in the comments!

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

The post Does Olympus Still Have a Place in the Camera Market? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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FeiyuTech’s new 4K Feiyu Pocket camera is a more affordable clone of the DJI Osmo Pocket

02 Apr

FeiyuTech has unveiled the Feiyu Pocket, a small 4K gimbal camera that bears a very striking resemblance to DJI’s Osmo Pocket.

Externally, the Feiyu Pocket appears to be a carbon copy of the Osmo Pocket with the only noticeable differences being a lack of an expansion port (Feiyu opted for a single integrated USB-C port on the side) and a slightly larger screen compared to the Osmo Pocket (1.3in compared to 1in, respectively). Aside from the branding and those differences, the two units are essentially identical in both shape and size, complete with a 360-degree rotating head and two buttons on user-facing side for controlling the camera.

Moving onto the internals and detailed specifications, things do start to differ a bit more. Rather than the F2 lens with an 80-degree field of view on the Osmo Pocket, the Feiyu Pocket features a slightly slower F2.8 120-degree ultrawide lens. The Feiyu Pocket also uses a 1/2.5” CMOS sensor instead of the 2/3” sensor inside of the Osmo Pocket, but both cameras output 4K (3840 x 2160 pixel) video at up to 60 frames per second. The Feiyu Pocket outputs only 8.5MP stills though, compared to the 12MP stills possible with the Osmo Mobile.

As for stabilization, the Feiyu Pocket uses a similar three-axis gimbal to the Osmo Pocket, but also throws in what FeiyuTech is calling six-axis ‘hybrid image stabilization’ that appears to combine the three-axis optical stabilization as well as another three-axis digital compensation.

FeiyuTech says the batter is rated for up to 3.5 hours of runtime when capturing 4K video at 30 fps and up to 4.5 hours when shooting 1080p video at 60 fps. the internal battery is charged using the integrated USB-C port and FeiyuTech says a 10W charger will recharge the device from empty in 80 minutes. As for storage, an integrated MicroSD card slot can support cards with up to 512GB of storage.

The Feiyu Pocket offers multiple shooting modes, including a 360-degree POV all-follow mode, a motion timelapse (hyperlapse) mode, multiple auto-panorama modes, a dedicated beauty mode for selfies and an intelligent sync motion mode that will sync the gimbal with your hand movements. The Feiyu Pocket syncs with FeiyuTech’s Android and iOS app to offer liveview and controls for changing the various settings of the camera.

Despite being very similar in shape, size and specs, the Feiyu Pocket comes in at $ 249 (Adorama, B&H), a whipping $ 120 cheaper than the DJI Osmo Pocket. Y

Articles: Digital Photography Review (dpreview.com)

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Can you Point a Mirrorless Camera at the Sun?

31 Mar

A mirrorless camera’s sensor is always exposed to the image you’re trying to capture, which has its advantages and disadvantages. A major disadvantage is the risk of sensor damage when changing lenses, or when capturing extremely bright environments. Which begs the question, can you point a mirrorless camera at the sun? The quick and simple answer to the question—No, you Continue Reading

The post Can you Point a Mirrorless Camera at the Sun? appeared first on Photodoto.

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Why the Fujifilm X100V is one photographer’s perfect camera for the streets

29 Mar

Introduction

Recently, Fujifilm released its fifth-generation Fujifilm X100V camera, an update that has been two years in the making. By now there are a lot of reviews out there, but my goal here is to focus on why I believe this is the best camera on the market for street photography. The X100V works really well as an everyday travel camera and even as a daily a cityscape/architecture camera, but I think that street photography is in the camera’s DNA.

I’ve been using the X100 since the first version, released in 2011, as my everyday camera and my primary street photography camera. Since then, it has transformed the way that I work as well as the quality of my work. Full disclosure: Fujifilm provided me with a loaner camera to review.

How the original X100 transformed street photography

The original X100 rocked the photography world in 2011. It embraced the design and ergonomics of old rangefinder film cameras and combined them with a cutting edge hybrid viewfinder and excellent image quality. And the cost was fairly affordable considering everything that was packed inside it.

While a few other camera companies had come close, no company had yet to put together such a small, tight, and refined (after some firmware updates, admittedly) street photography camera. Many photographers began to ditch their SLRs and prime lenses for the X100 and its later models.

And while many companies have created incredible cameras for street photography, most of them have a significant flaw or two that hold them back in some way (or they cost $ 10,000). I still don’t believe there is a camera company out there that has put together the entire package for street photographers in the way that Fujifilm has. It continues to lead the pack.

What’s new in the X100V?

The X100V comes with a host improvements over the previous models, including:

More reliable autofocusing: This may be the major reason for upgrading the camera for some of you.
New 26.1-megapixel sensor (shared by the X-T3): You get a modest resolution bump and much faster readout speeds.
Newly weather-resistant body: You will need to purchase an attachment to make the lens itself weather resistant, but I have shot significantly with older versions in the rain with an umbrella and never had an issue with it getting fairly wet. A weather-resistant body would make me even more comfortable in doing so.
Newly developed lens: The lens redesign is two years in the making and improves corner sharpness and close-distance focusing.
Slightly sleeker design: Streamlined lines and new top and bottom aluminum plates with a satin finish make the camera even more aesthetically appealing.
Two-way tilting screen: The screen is so thin, you hardly know it can tilt.
Updated hybrid viewfinder with a new OLED panel.
4K Video: For any street photography videos you may want to make.

Now let’s take a look at why I think the X100V is perfect for street photography.

Size and ergonomics

While the benefit of the Fujifilm X100 series is its complete package of features, the size and ergonomics of the camera are what stand out the most for me. With its very compact 23mm (35mm equivalent) lens, the camera is tiny and a pleasure to carry around all day. It is both inconspicuous for street photography and light enough that it allows you to photograph in a quicker and more spontaneous manner.

The X100V just makes you want to take it outside and walk around all day

The camera has dials for all the major camera functions, which makes it easy to change your settings on the fly without going into the menus. The viewfinder allows you to move between an optical view and an electronic view, which I do frequently depending on what I am shooting.

The X100V just makes you want to take it outside and walk around all day. And it’s tough to understate that, because that’s really the key to street photography: getting out there with a camera consistently and having as much fun as possible.

Image quality

Part of the genius of the X100-series is the restraint that they showed in building it. The choice to have a fixed lens and an APS-C sensor could have been thought to have been features that held this camera back, but instead, they were the features that defined this camera. Both choices allowed it to hit a perfect mix between size and image quality. The photos that come out of it look great and I easily feel comfortable blowing them up to giant sizes, even at remarkably high ISOs.

I find that the colors and black and white tones that come out of this camera are nothing short of remarkable, and in recent years Fujifilm has provided a wide variety of color and black and white profiles that allow you to create a variety of looks depending on your style and the particular image you’re working with.

High ISO and autofocus

I’ve found the X100V to be a beast for night photography, whether it’s street or architectural. I tested this camera up to ISO 6400, and found the noise was fairly minimal. The photographs were sharp as well. I would certainly be comfortable printing ISO 6400 photographs and I would even be comfortable using ISO 12,800 in a pinch. The level and look of the noise in the newest version of the X100 is something that I could not have imagined even five years ago.

Mix the ISO capabilities with the size and inconspicuousness of the camera, and shooting street photography at night is so much easier. In general, street photography at night is incredibly hard to do, but this camera speeds you up enough to significantly lessen some of the primary constraints with night street shooting.

Autofocus, what was originally one of the main issues with the first X100 camera in 2011, is now one of its strengths. The X100V has incredibly reliable autofocusing and performs remarkably well for a camera of this size. It’s still is not as fast as an SLR, of course, but with each new iteration, they get closer.

Lens(es)

The Fujifilm X100V comes with the option to purchase 50mm equivalent and 28mm equivalent attachment lenses. I’ve found that 35mm and 50mm primes are my bread-and-butter focal lengths for street photography: wide enough to get close and intimate while showing a lot of background, but not too wide. Many street photographers love to use a 28mm equivalent as well, although that is usually too wide for me unless I am on a very crowded street corner.

The act of using a prime lens like this has allowed me to capture so many more split-second moments than I would have missed otherwise. With a zoom, I feel like I am a part of the camera, but with a small prime, I feel like the camera is part of me.

Battery life

The battery life over the last few versions is remarkably improved, particularly for a camera of this size. I still find that I need three batteries for an active day of shooting, but the battery life has been turned from a detriment to a benefit over the five generations of this camera.

Street photography settings and tips

While I think that the silver version of the camera is the prettiest, people tend to notice it frequently. It still works great for street photography, but I suggest getting the black version, which is more inconspicuous and gets fewer comments.

The X100V has a leaf-shutter, so is already very quiet, but you can disable all other sounds and enable an electronic shutter for completely silent shooting. This is particularly helpful for indoor and especially quiet situations.

I also lengthen the time that it takes for the camera to go to sleep. I find this option necessary since the camera will go to sleep occasionally just as a fast-moving moment appears out of nowhere The ‘Boost’ option also enables even faster autofocus speeds. Both of these options will significantly reduce the battery life, but with three batteries, you should have more than enough for a full day of busy shooting.

Street photography accessories

While Lensmate has not yet released a thumb-grip for the new design of the X100V (here it is for the X100F), I’m sure one is coming soon. This type of thumb grip makes the camera much easier to hold, particularly with one hand.

I also find that a soft release button makes the camera more comfortable and sensitive to shoot with: My personal favorite is the Abrahamsson Mini Soft Release. Purchase a couple of these because they can unscrew in your bag and get lost easily. I lose one a year usually and I’m very careful.

The overall aesthetic of Gordy’s camera straps goes very well with the camera and are incredibly comfortable. I typically keep the strap shorter than normal to keep the camera higher on my chest, which makes it easier to shoot quickly with and isn’t bothersome since the camera is so light.

Conclusion

The X100 series has been around for almost 10 years now, and it only gets better as Fujifilm works to find smart and subtle ways to improve it and the photos that come out of it without straying from the initial spirit of the camera.

I’ve found that the Fujifilm X100V has helped turn me into a more spontaneous street photographer. I can react faster, am able to manipulate the camera easier, and have gotten really in-tune with the fixed focal length. If you decide to get one for yourself, I think you’ll feel much less self-conscious and afraid of getting close and intimate with your photographs.

The combination of all of these factors has allowed me to capture images that I would not be able to come back with before. And to be honest, I don’t know what camera I would use for street photography if the X100V didn’t exist. I can’t say I would be as happy or comfortable with any other.

Articles: Digital Photography Review (dpreview.com)

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The Canon EOS R5 Will Be a 5D Series Mirrorless Camera

29 Mar

The post The Canon EOS R5 Will Be a 5D Series Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Canon EOS R5 Will Be a 5D Series Mirrorless Camera News

The Canon EOS R5 has been making waves in recent months, ever since Canon officially confirmed several of its features, including 20 frames-per-second shooting speed, true 8K video, and in-body image stabilization.

However, despite such tidbits, we were in the dark about a number of EOS R5 characteristics, including its price, its resolution, and its position in the Canon mirrorless lineup.

Until today.

While Canon has yet to tell us the R5’s price and megapixel count, we have something that could be just as valuable:

That the EOS R5 is a “5-series” camera. In other words, the R5 is designed for the same users as the Canon 5D Mark IV, Canon’s professional/semi-professional body with all-around capabilities.

This comes straight from Canon’s Product Marketing Specialist, David Parry, whose thoughts on the EOS R5 were published in an interview with TechRadar.

When asked about the EOS R5 design, Parry explained that “because this is a 5-series, more people at that kind of level will expect functions similar to what you get on a 5D.”

Parry went on to say that the EOS R5 is “aimed at [the 5D] level of the market,” though it “isn’t a replacement for the 5D Mark IV or anything like that. But this is a mirrorless 5-series, it’s aimed at that segment of the market.”

What does this mean?

For one, the price tag on the EOS R5 is likely to be in the low $ 3000 USD range (comparable to that of the 5D Mark IV at the time of release). Though it’s possible that the edition of some advanced features, such as IBIS and 8K video, will push the price up to the $ 3500-3800 mark.

You can also expect a similar level of weather sealing to the 5D Mark IV, a camera that’s quite tough, and a resolution of at least 30 MP (but probably significantly higher).

And the EOS R5 should be an all-around professional body, good for landscape photographers, wildlife photographers, portrait photographers, product photographers, and more.

In terms of resolution, assuming the 5D Mark IV offers an aspect ratio similar to that of UHD or Cinema 4K, the EOS R5 must feature 33 MP or more. The 45 MP rumor that recently circulated seems plausible and would be a significant bump up from both the EOS R’s and 5D Mark IV’s 30 MP sensors.

One last thing to bear in mind:

While the EOS R5 was expected to ship this summer, supply chain problems due to the novel coronavirus may delay this launch. At worst, you can expect the EOS R5 before the year is out.

Now over to you:

Would you take the EOS R5 over the 5D Mark IV? What are your thoughts about the camera that the EOS R5 is shaping up to be? Let me know in the comments!

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

The post The Canon EOS R5 Will Be a 5D Series Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Video: How to turn any room in your house into a giant camera

26 Mar

Photographer and DIY camera-extraordinaire Brendan Barry has shared a how-to video showing how you can turn a room in your home into a camera, and how to record the images it creates. Throughout the 30-minute video, he shows whole process from finding a suitable room and picking a lens right through to making the exposure and then creating a positive print. Although he shows the process using black and white photographic paper he also explains how pictures can be made using digital cameras.

‘It’s a bit of fun really’ Brendan explained to DPReview, ‘and a fun way to do something creative if you are confined to the house during this Coronavirus outbreak. I love the process as it playfully breaks down how pictures are made and allows us to see photography in a different way.’

In the video Brendan shows the effects of a series of lenses mounted onto a blacked out window, including a lens from a pair of glasses and a magnifying glass, but says if DPR readers want to get the best possible quality they should be picky about what lens they use. ‘In the video I quickly show a process lens. If you have one, this is what will give you the best results. They are designed to make very big prints and will allow you extra clarity and resolution. They don’t have to be expensive, and decent ones can be found on auction sites. If you measure your wall and find it is 2 metres across you’ll need a 2500mm lens, but you don’t have to make prints that big!’

‘If you are going to use a magnifying glass find a good quality one, not one with a cheap plastic lens – and the bigger the better. If it turns out to be too big you can always reduce the aperture by cutting a circular hole in a disc of card and sticking it over the lens. This will control the amount of light passing through it on a bright day. In the video I show a very roughly cut-out hole, but a smooth and even hole will produce better results. You can also buy great meniscus lenses from Amazing Camera Obscura that are ideal for making a room-sized camera.’

The projected image from the window shown from behind on a sheet of diffusing material

The tutorial shows Brendan mounting a sheet of photographic paper to make a paper negative that, once processed, is then contact printed with another sheet to create a final positive print. ‘I really like this process, and making the contact print while the original negative is still wet creates a beautiful soft look that can’t be got back once the negative has dried. However, if you’d rather shoot using a digital camera you can photograph the projected image from behind, as I show in the video, or you can project the image onto a high quality smooth white surface and photograph that from the front. Position your camera right next to the lens mounted on the window. You won’t be able to shoot it absolutely square-on, but you can fix the distortion in software afterward.’

‘Blacking out the window and mounting the lens only takes about an hour, but there are days of entertainment to be had once you get going.’

Making a room into a camera is one of Brendan’s more straight-forward projects; in the past he’s made a camera from a melon, another from a loaf of bread and one from a slab of cheese. He also has a shipping container that serves as camera and darkroom all-in-one.

You can see some of the other cameras Brendan has made, and how he made them, on his web site.

Articles: Digital Photography Review (dpreview.com)

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Roger Cicala breaks down the do’s (and don’ts) of cleaning your camera gear and workspace

20 Mar

Roger Cicala, founder and owner of Lensrentals, is best known in these parts for tearing down, repairing and reviewing lenses. But not long ago (relatively speaking), it wasn’t just lenses Roger was mending; he was also a physician. As such, his experience in these two fields makes him uniquely qualified to talk about something we should all be mindful of — how to keep yourself and your camera gear disinfected through proper care and treatment of your equipment and workspace.

In the thorough blog post, Roger breaks down what cleaning supplies you should (and shouldn’t) use and what practices will help to ensure you’re being as safe as you can be during the ongoing COVID-19 pandemic (and beyond). From basic gear cleansing tips to advice for keeping your studio or office as clean as possible, he covers it all.

You can read the full blog post yourself over on the Lensrentals blog. If we’re lucky, Roger might even make an appearance in the comments below for those of you who have any additional questions.

Image credits: photos used with kind permission from Lensrentals.

Articles: Digital Photography Review (dpreview.com)

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Olympus TG-6 review: the best waterproof camera on the market

20 Mar

Introduction

The Olympus Tough TG-6 is the company’s sixth-generation premium underwater camera. It features a 12 Megapixel sensor, 4X optical zoom lens, numerous sensors and, of course, serious protection against the elements.

Key specifications

12MP, 1/2.3″ BSI-CMOS sensor
25-100mm equivalent F2.0-4.9 stabilized lens
Waterproof to 15m (45ft), shockproof from 2.1m (7ft), crushproof to 100kgf (220lbf), freezeproof to -10°C (14°F), dustproof
3″, 1.04M-dot display (non-touch)
Raw support
1cm (0.4″) minimum focusing distance
20 fps burst shooting
Pro Capture mode saves photos before and after the shutter release is pressed, to help you capture the right moment
4K/30p video
Built-in GPS, altimeter, compass, thermometer and accelerometer
Optional conversion lenses and flash accessories

The TG-6 comes in black or red and is priced at $ 379.

What is it?

The TG-6 is a pocketable, ultra-rugged camera with a blend of features that will appeal to many different audiences:

Everyday shooters and parents who want something that can be dropped or get wet, unlike their smartphone
Serious underwater photographers who want to dive deeper and use off-camera flashes
Hikers and other outdoorsy folks who want to track their progress and incorporate things like location and altitude into the metadata of their photos

For those in the first group, the TG-6’s auto mode can handle just about every situation, and its numerous scene modes are well organized. Going underwater? Just choose the ‘fish’ spot on the mode dial, where you’ll find five choices that match the situation you’re in. It is a shame that Olympus did not create a simplified version of its menu system for more novice users, who are likely to be overwhelmed by the options and organization.

Out of camera JPEG. ISO 100 | 1/800 sec | F5 | 58mm equiv.
Photo by Jeff Keller

For the enthusiast, the TG-6 offers some manual controls, but not the full suite you’d expect on a higher-end camera. While you can adjust the aperture, there are only three choices at any one time. This is also why there aren’t shutter priority or manual exposure modes on the camera. It’s worth mentioning that you cannot adjust exposure compensation in auto mode, so you’ll need to switch to program or aperture priority mode to do so.

Olympus offers a huge number of accessories, including an underwater housing that lets the camera go 15 meters (50 feet) deeper, wide-angle and fisheye conversion lenses, the ability to wirelessly fire Olympus’s flashes (which need to be in housings too, of course) and much more.

Conversion lenses, lens caps and a ring flash adapter for the TG-6

Hikers and other adventurers can take advantage of the camera’s sensors and tracking abilities so they can see exactly where they were on their journey when they took a photo. The environmental sensors include a GPS, altimeter/depth gauge, compass, accelerometer and thermometer (which wasn’t close to accurate on the camera we tested, but the other sensors were fine). When you’re out and about, pressing the ‘info’ button displays all of the data the camera is capturing.

Pressing the Info button when the camera is off lets you see all of the data the TG’s environmental sensors are picking up.

Lastly, the TG-6’s host of close-up features not only allow for capturing subjects 1cm (0.4″) away: the ‘digital microscope’ mode lets you zoom in up to four times more, though with a reduction in image quality. Olympus sells a ring light and flash diffuser to add flexibility to your macro photography.

Out of camera JPEG. ISO 160 | 1/125 sec | F2.3 | 30mm equiv.
Photo by Jeff Keller

What’s new?

These days, updates to compact cameras are very minor, and that includes the TG-6. Very little has changed compared to the TG-5, with the main things being a higher resolution LCD, additional macro and underwater modes, and focus bracketing. Improvements have also been made to reduce ghosting and flare.

The higher resolution LCD is certainly nice, though Olympus did not address the most frustrating thing about the screen on the TG-5: it scratches way too easily. Buying a screen protector is highly recommended. It’s worth mentioning that the screen isn’t touch-enabled, but keep in mind this feature is all-but-useless when screens (or your hands) get wet.

A TG-6 with a tempered glass screen protector

Where the TG-5 only had one underwater white balance mode, the TG-6 has three, for shallow, mid-depth and deep water. Two additional underwater shooting modes were added: macro and microscope.

What stands out?

What really separates the TG-6 from its peers is its ability to capture data from its environmental sensors and attach it to photos, as described earlier in this review. Some other rugged cameras have some sensors, but nobody does it better than Olympus. Having GPS data in your photos lets you search for photos by location in software like Lightroom and Apple Photos.

Having the tracking feature on (which is how you can create the map like the one below) does drain the battery, which is why I kept the camera plugged into a car charger while driving around.

A map created with the OI Track app shows you where you took each photo.

The TG-6 is a bit of an outlier in that Olympus continues to use a 12 Megapixel sensor, rather than the 16 or 20 Megapixel sensors found on its competitors. On a chip this small, the TG-6’s lower pixel count might help its performance at higher ISOs, but the much bigger benefit is its lens’ ability to go to F2.0 at its widest-angle setting, letting in twice as much light as its closest rivals will. And, for most purposes, a 12 Megapixel sensor is more than enough.

The build quality of the TG-6 is still the best-in-class. Its chassis is solid enough that you’d think it could chop wood, though that would probably void the warranty. Both of the doors (one for the I/O ports, the other for the battery and memory card) have dual locks, a feature which has disappeared from its competitors. The camera’s dials are pretty plasticky though, and the buttons are mushy (the movie recording button is the worst offender), but this is likely due to the extensive sealing.

Note the dual locks on the battery/memory card compartment door. The same as true for the door that protects the USB and HDMI ports.

While the TG-6’s rugged specs are very impressive, when it comes to going underwater, several of its peers can go quite a bit deeper, with the Nikon Coolpix W300 (arguably the TG-6’s closest competitor) able to function down to 30 meters (100 feet). If you’re a snorkeler, that’s no big deal, but for scuba it’s a very desirable trait.

While the lens on the camera doesn’t have as much telephoto power as many of its peers (many of which reach 140mm equivalent at their long end), it is the widest available, which is really helpful when underwater. The lens is also the fastest in this class, which will keep noise levels down as light levels drop.

The TG-6 gets mixed reviews in terms of usability. As mentioned earlier, its auto mode works well and shortcut menu is fairly sensible, but the main menu is far too confusing. The lack of exposure compensation in the auto and scene modes is also a bummer, since it’s a commonly used, easy-to-understand feature.

The camera’s 25-point autofocus system works well, both above and below sea level. It can detect faces, though the subject needs to be looking straight at the camera. While the TG-6 has an AF tracking mode, it takes too many button presses to activate, and we recommend avoiding it.

One feature that no other rugged camera on the market has is Raw support. While the small sensor doesn’t have the dynamic range of enthusiast cameras, you can still brighten shadows with decent results, fine-tune white balance (critical for underwater shooting), and get more detail than JPEGs provide. While the TG-6 has in-camera Raw conversion, it’s poorly implemented. You have to set the camera’s shooting settings to what you want and then apply the edits to the Raw file, as opposed to adjusting them for each Raw image individually.

Heavy noise reduction in the TG-6’s JPEGs obliterates fine detail, like the trees and grass in this photo. If you’re comfortable with editing Raw files, you can get some of that detail back.

Download out-of-camera JPEG | Download converted Raw file

While the image quality from the TG-6 is fine, modern smartphones will surpass it in most situations, though once downsized to social media resolutions, it’s less noticeable. But, remember, your phone isn’t exactly rugged. While out-of-camera JPEGs have pleasant colors*, the lens just isn’t very sharp and too much noise reduction is applied. Turning down the ‘noise filter’ option helps a bit, but if you’re up to the challenge of processing the results, shooting Raw is the way to get the most out of the TG-6.

* Tip: Try to shoot in ‘P’ mode if you can, as the ‘i-Enhance’ color profile in Auto mode is over-the-top, to say the least.

We found the TG’s white balance was accurate, even underwater, which is always challenging. The camera tends to overexpose, so you may find yourself needing to use exposure compensation fairly often. As mentioned earlier, you can’t use exposure compensation in most modes (including Auto), so you’ll need to P or A mode to adjust it.

Out of camera JPEG. ISO 200 | 1/30 sec | F2 | 25mm equiv.
Photo by Dan Bracaglia

The camera’s 4K video is fine though, again, no better than that from a smartphone. The ‘movie IS’ does a good job of stabilizing things, though there is a noticeable crop when it’s on. Audio levels are adjustable, and a wind filter is also available. The TG-6 can shoot (silent) Full HD video at 120 fps, with even faster frame rates available if you drop the resolution.

The TG-6 uses the Li-92B lithium-ion battery, which turns in a respectable 340 shots per charge (CIPA rated), though you’ll probably do even better than that in most situations. That’s assuming you’re not using the GPS, though, so a spare battery is a must if you’re using it or the logging function. The camera can be charged over its USB 2.0 connector. There’s no external charger included in the box, but Olympus would be happy to sell you one for a whopping $ 70.

Despite all of its cool tracking features, the TG-6’s wireless implementation isn’t great. There’s no Bluetooth, so you have to put the camera into a smartphone connection mode and then manually find the network it’s created on your phone (a QR code is used for initial set-up, but that’s it). Olympus’s OI Share app is simple to use, though not always reliable. To get tracking data and put it on a map, you must use another app, OI Track, which downloads log files that sync with up with photos that you’ve already downloaded via OI Share.

Conclusion

Out of camera JPEG. ISO 100 | 1/80 sec | F2 | 25mm equiv.
Photo by Jeff Keller

The Olympus Tough TG-6 continues to be the top waterproof camera on the market. We like its ruggedness, expandability, tracking features, and Raw support. Its lens is faster at the wide-angle end than its peers, and its macro capabilities are top-notch. Battery life is very good, assuming that you’re not hitting the GPS too hard.

The TG-6’s main negative is pretty much the same as for any small-sensor compact camera these days: image quality just isn’t that great, especially compared to best-in-class smartphones that seamlessly combine multiple images to boost image quality. Having Raw support gives TG-6 users more flexibility to squeeze the most out of the camera, but you can only do so much with a 1/2.3″ sensor. Compared to its peers, we wish the TG-6 had a bit more range at its telephoto end (but you are getting F2 at the wide end in exchange), and the lack of Bluetooth is disappointing.

There have been several references to smartphones throughout this review, and to be clear, the TG-6 isn’t meant to replace one. Rather, it’s designed to withstand exactly what you don’t want happening to your smartphone: being dropped, stepped on, or dunked in water.

Out of camera JPEG. ISO 100 | 1/320 sec | F9 | 28mm equiv.
Photo by Jeff Keller

In the course of writing this review I took the TG-6 to Olympic National Park in Washington State. With its combination of rock-strewn beaches, temperate rainforests and snowy mountain peaks, the park is exactly the kind of place where you want to stuff your phone in a pocket, get out the TG-6, and not worry about what it may smash into. And being able to see where you took a photo isn’t just interesting: it makes organizing photos easier, as well.

Sample gallery

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Scoring

Olympus Tough TG-6

Category: Waterproof / Rugged Compact Camera

Build quality

Ergonomics & handling

Features

Exposure and focus accuracy

Image quality (raw)

Image quality (jpeg)

Flash performance

Low light / high ISO performance

Optics

Performance (speed)

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The Olympus Tough TG-6 is a well-designed rugged camera with a broad feature set, good image quality for its class and a host of environment sensors that store everything from location to temperature in your photos.

Good for

Divers, hikers, parents who don't want their smartphone broken

Not so good for

Those who desire smartphone (or better) image quality

76%

Overall score

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Articles: Digital Photography Review (dpreview.com)

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LEE Filters’ new LEE85 Filter System is designed specifically for mirrorless camera systems

20 Mar

LEE Filters has revealed its upcoming LEE85 Filter System designed for smaller cameras and lenses. The system features a Holder component with a locking dial for use with the related Adaptor Ring, which will be available in sizes from 37mm to 72mm, according to the company. The Holder is made from aluminum and works with the LEE85 ND Graduated and Standard filters and a clip-on Polariser.

LEE Filters presents the new LEE85 Filter System as lightweight and ideal for photographers who use small cameras and who want a compact, easily deployed filter system. The Locking Ring makes it possible to lock the Holder at a specific angle or allow it to freely rotate, depending on shooting needs. As with the larger LEE100 system before it, the LEE85 Holder can be configured with 1 – 3 filter slots using modular guide blocks.

The compatible ND filters have been designed with large tabs on the top; these feature clear labels and make it easier to insert and remove the filters from the Holder without leaving fingerprints. The LEE85 Polarizer, meanwhile, clicks directly onto the Holder and can be rotated. The entire system, including the Polarizer and up to four filters, can be stored in the included System Pouch with strap and belt loop options.

The company will offer the LEE85 Filter System in multiple bundle options: Discover Kit, Develop Kit, Aspire Kit and Deluxe Kit. All four options include the 58mm, 67mm and 72mm adaptor rings, as well as the LEE85 Holder, System Pouch and 0.6 Medium ND Graduated filter. Depending on the kit selected, buyers will also get things like the ‘Big Stopper,’ the LEE85 Polarizer, a 0.9 Medium ND Graduated filter and a cleaning cloth.

Buyers who need adaptor rings in other sizes will be able to purchase them separately. It’s unclear how much each LEE85 kit will cost at this time; the company says that its new filter system is due for release in the second quarter of this year.

Articles: Digital Photography Review (dpreview.com)

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DxO PhotoLab 3.2 introduces improved local adjustment tools, new camera support and more

19 Mar

DxO PhotoLab 3 has been updated to version 3.2. The free update includes numerous improvements plus raw file support for five new cameras. Long known for its local adjustment tools, DxO PhotoLab 3.2 introduces new Duplicate and Rename features in the Local Adjustments Palette. The Repair Tool, used to remove distracting elements from your image, has a new display mode for better visibility. DxO PhotoLab 3.2 includes new multi-image keywords, plus Windows users now have access to renaming functionality.

Regarding improved local adjustment mask management, with the new Duplicate and Rename features, users can reproduce masks from image to image. Once applied to a new image, the mask can then be adapted as needed for each image. To aid in easy identification of individual masks you have created, DxO PhotoLab 3.2 adds the ability to rename your masks. You can also quickly move each mask with a single click when using the brush tool.

DxO PhotoLab 3.2 introduces new Duplicate and Rename functionality for local adjustment masks. Image credit: DxO

The simplified Repair Tool display mode interface has been redesigned to allow the user to see more of the background when removing objects. This means that it will be easier to make accurate and realistic looking repairs to your images. The area being retouched is now outlined with a thin line, as can be seen in the screenshot below.

The Repair tool in DxO PhotoLab 3.2 has a simplified repair tool user interface. This introduces a new thin white outline surrounding the area being retouched. Image credit: DxO

In prior versions of DxO PhotoLab 3, users could add and delete individual keywords. In PhotoLab 3.2, users can now differentiate between keywords that are tagged to multiple images. As mentioned earlier, Windows users can also now rename keywords.

In DxO PhotoLab 3.2, users can differentiate between keywords that are tagged to multiple images. Image credit: DxO

DxO PhotoLab is well regarded for its excellent and powerful optical corrections, which are customized by the DxO team for different camera and lens combinations. DxO PhotoLab 3.2 introduces support for five new cameras: The Canon EOS-1D X Mark III, Nikon D780, Olympus E-M1 Mark III, Leica D-Lux 7 and Leica Q2. Nearly 770 new optical modules have been added in DxO PhotoLab 3.2, which now includes more than 60 million different camera and lens combinations.

For existing DxO PhotoLab 3 users, the 3.2 update is available free of charge. For new customers, DxO PhotoLab 3.2 is available in Essential and Elite editions. To learn more about which version is best for you, click here to see a breakdown of version differences. With the new 3.2 update, DxO has introduced special pricing for new users. Until March 31, new users can purchase DxO PhotoLab 3.2 Essential for $ 99.99 USD or the Elite edition for $ 149.99. These are savings of $ 30 and $ 50 respectively. For more information or to download a free trial of the software, visit DxO.

Articles: Digital Photography Review (dpreview.com)

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