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Posts Tagged ‘Olympus’

Panasonic Lumix G9 vs Olympus OM-D E-M1 II

07 Feb

Introduction

Announced late last year, the Panasonic Lumix DC-G9 gives Micro Four Thirds shooters looking for a high performance stills-oriented camera another option. Previously, the Olympus OM-D E-M1 Mark II was more or less alone in its class, and remained unchallenged for over a year (unless you count the video-focused GH5 as a direct competitor). Even considering its age, the E-M1 II still fetches a $ 2000 body-only price, with the G9 undercutting it slightly at $ 1700 body-only.

So how do these Micro Four Thirds flagships compare head-to-head? Take a look at our feature-by-feature breakdown.

Image quality

The G9 and E-M1 II both use a 20MP Four Thirds sensor, and it’s fair to say they match up pretty evenly in this category. They do of course use different processors, which will make a difference, and Panasonic has made a lot of effort to refine the G9’s JPEG engine since the GH5. But we’d expect them to perform quite similarly, and broadly speaking they do.

Analyzing each camera’s performance in our studio testing, the E-M1 II produces slightly nicer JPEG sharpening and colors at base ISO, but the G9 pulls just ahead at high ISO. The difference is subtle, but it’s one we noticed.

Both cameras offer a high-resolution mode, assembling a large file from multiple images taken while shifting the sensor slightly. The E-M1 II’s JPEG output is rendered at 50MP while Panasonic chooses to output 80MP, but both produce an 80MP Raw file. There’s some question over whether you really get 4x the resolution from this pixel-shift method.

If you’re very picky and base ISO JPEG rendering is a priority, we think the E-M1 II holds a slight advantage

These modes are best suited for still life, but nevertheless Panasonic and Olympus have both made efforts to improve results for long exposures of moving subjects. Testing the G9 on some street scenes and the E-M1 II on a waterfall (the one from Twin Peaks, naturally), we came away with some decent results. In both cases you’ll see artifacts if you look closely, but they’re usable images for certain applications.

Differences in this respect are very, very subtle. If you’re very picky and base ISO JPEG rendering is a priority, we think the E-M1 II holds a slight advantage. If it’s the very best high ISO JPEG detail and color you’re after, the G9 does a bit better in that category.

Video

Panasonic is the better established player in the video game, but don’t count the E-M1 II out just yet. Both cameras offer UHD 4K capture (though the G9 does 60p to the E-M1 II’s 30p), but the E-M1 II also adds 24p DCI resolution, for a more cinematic aspect ratio.

For DCI recording, Olympus quotes a bitrate of 237 Mbps, which in theory makes for better capture of random motion in clips. Unusually though, Olympus seems to be quoting a maximum bitrate here rather than an average rate. E-M1 II users report that they rarely see the camera use anything like that 237Mbps, which our own additional testing supports. Despite this, we still think that the E-M1 II’s DCI 4K capture looks a bit nicer than the G9’s UHD 4K. The E-M1 II’s 1080p footage is, however, disappointingly soft.

Both cameras provide video niceties like touchscreens that enable tap-to-focus and flip-out LCDs. It’s worth noting that HDMI ports and headphone/microphone jacks are on the left side near the screen’s hinge and can be slightly blocked when the LCD is unfolded on both cameras. The robust image stabilization systems on both cameras are also beneficial to video shooters. In our experience, they’re both effective for handheld video and give a reasonably steadicam-like appearance to footage.

Again, neither camera has a huge advantage in this category. If you need the very best 4K capture, we give a slight edge to the E-M1 II. But for overall video quality, the G9 comes up with 4K/60p, and we think it’s the better buy. Of course, those who very serious about video would want to look to the G9’s sibling, the GH5, where you’ll find 4:2:2 output that seems to have been withheld from the G9.

Burst rate

The G9 is just a hair faster when using continuous autofocus – 20 fps with e-shutter / 9 fps mechanical shutter to the E-M1 II’s 18 fps with e-shutter / 10 fps mechanical. But perhaps more impressive is the G9’s near-infinite buffer depth: it will carry on shooting at 9 fps with mechanical shutter for over 600 frames. The E-M1 II is no slouch in terms of buffer depth, but we did find ourselves irritated with the camera locking us out of playback while the buffer cleared.

Both cameras also offer a very handy pre-recording burst shooting feature, which records full resolution JPEG and Raw frames captured before you fully push the shutter. Once you half-press the shutter, each camera begins saving images to its buffer, and will record a certain number once the shutter is fully pressed.

Olympus calls it Pro Capture mode, and it will record 14 pre-captured frames – but requires an Olympus Micro Four Thirds lens to be attached. Panasonic’s mode is called Pre-Burst, and is separate from the 6K/4K pre-capture stills-from-video that’s also available on the G9. It starts recording 0.4sec before the shutter’s fully pressed, which means either 8 or 24 frames depending on your burst mode.

If you have a particular use case that demands a nearly bottomless buffer depth, we’d suggest leaning toward the G9. Otherwise, this category is basically a wash.

Autofocus

The bad news for the G9 is that it only offers contrast-detect autofocus, but the good news is that it uses the most capable CDAF system we’ve ever tested. In continuous focus mode it performed admirably in our bike test, though the very slight ‘wobble’ inherent in its CDAF-based “Depth from Defocus” system made for a bit of a distraction and not-quite-tack-sharp images here and there.

The E-M1 II offers 121-point phase detect autofocus, and is capable of seriously impressive results. However, we were disappointed by a tendency of the camera to jump from a subject to the background, in continuous autofocus mode. We found C-AF to be very good at tracking subjects for candid portraiture in single shot drive mode, but not quite reliable enough to compete with industry-leading continuous AF systems.

It’s worth noting that the G9 requires Panasonic lenses to utilize Depth from Defocus, and thereby unlock its best AF potential. If you have a stash of Olympus lenses already, you’d be better off sticking with the E-M1 II. If that’s not a limiting factor, we’d recommend the G9 for fast action if you can live with the occasional, slightly less than razor sharp image. If your AF needs are less demanding, we have found the E-M1 II’s AF to be better suited for casual use.

Stabilization

Sensor-shift stabilization is a standout feature on both of these cameras. Both offer a 5-axis based sensor-shift system with nearly-physics-defying 6.5 CIPA-rated stops when coupled with a compatible lens using optical IS. The G9 claims 6.5 stops with the 200mm F2.8 IS attached, as well as at wide focal lengths on non-stabilized lenses. The E-M1 II should be good for 6.5 stops with the 12-100mm F4 and 300mm F4 Pro lenses; with all other lens combinations Olympus claims 5.5 stops.

These two cameras have among of the best stabilization systems on the market

In our testing, the G9’s stabilization provided slightly better results than the E-M1 II’s. At 200mm the G9 gave us 5 2/3rd stops; the E-M1 II provided 5 stops. In our shooting, that translated to getting some sharp shots down to 1/5sec. At 24mm, the G9 gave a 3-stop advantage; the E-M1 II provided 2.5-stops. Not a huge difference, but a difference nonetheless.

It’s good news all around in this category – these two cameras have among of the best stabilization systems on the market. The G9 came up slightly stronger in our testing, but the differences are slim indeed.

EVF

Panasonic paid a lot of attention to the EVF in developing the G9. That effort resulted in a 3.68M-dot OLED panel with both 60 fps and 120 fps refresh modes. The E-M1 II’s EVF is an LCD which offers a lower magnification (0.74x to the G9’s 0.83x) and lower resolution (2.36M-dot).

We’re confident in calling the G9’s EVF superior. If that’s a major consideration in your purchase, chalk one up in the Panasonic column.

Operation & handling

If there’s any category that comes down to personal preference more than anything else, it’s this one. The G9 is a larger, slightly more DSLR-shaped camera. It offers a top panel status LCD, which is quite rare in its class. Both cameras are weather-resistant, highly customizable, and provide those lovely aforementioned flip-out LCDs.

Here’s where we’d strongly encourage you to get to your local camera shop, hold both of these cameras in your hands and see which one feels better. Some of the DPR staff find Olympus cameras onerous to set up and prefer Panasonic’s Quick Menu screens. Some of us love Olympus’ interface and consider that it’s worth the trouble setting it up. To each their own.

Conclusion

There are enough similarities between these cameras that it’s reasonable to choose one over the other based on a spec that stand out to you. Either camera will get you good image quality, industry-leading image stabilization, strong autofocus, and excellent customizability.

For our money, the E-M1 II feels like the better buy for the stills shooter, and the G9 better for someone who wants a stills camera with an excellent video feature set. We felt the E-M1 II’s AF wasn’t as strong for fast moving subjects, but performed admirably in a host of casual shooting situations. It’s also the smaller of the two, so anyone looking for a light, always-at-your-side everyday camera would be pleased with the E-M1 II.

The existence of the G9 can only mean good news for Micro Four Thirds shooters
in either camp

The G9 is just a little bigger and bulkier, which some shooters will prefer, and in our testing we thought it did a bit better keeping up with fast moving targets if you can deal with the DFD system’s inherent wobble. That lovely big EVF will be a revelation to some users who thought they’d never love an EVF.

Really though, we’re splitting hairs. There’s very little to separate the two, and if you already have either brand’s lenses, you’d do just fine to stick with that brand’s stills flagship camera.

And the truth is, the existence of the G9 can only mean good news for Micro Four Thirds shooters in either camp. More competition means better products in the future, and that’s a win in our book.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus announces PEN E-PL9 equipped with 4K and Bluetooth

07 Feb

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Olympus has announced the PEN E-PL9, which improves upon its predecessor in terms of design and features. The camera has a more pronounced grip and larger mode dial, and its faux leather wraps around the body. The E-PL9 finally has a built-in flash, so you no longer need to tote around the small external flash that came with earlier models.

The E-PL9 uses a 16MP Live MOS sensor as well as the same TruePic VIII processor found on the E-M10 Mark III. While the E-M10 III has in-body 5-axis image stabilization, the E-PL9 is limited to three axes. The two cameras share the same 121-point contrast-detect AF system with face and eye detection.

The most significant new features are 4K video capture (at 30p) and Bluetooth. The latter allows for quick pairing and the ability to have tagged photos transferred while the camera is turned off. Olympus has also added a ‘Sweep Panorama’ feature (nine years after Sony pioneered it,) a new Instant Film art filter and improved automatic scene selection.

The E-PL9 will be kitted with the 14-42mm F3.5-5.6 ‘EZ’ power zoom lens. Available colors include black, brown and white. The camera will be available outside of North America in mid-March for €699/£649 with the kit lens or €549/£579 for the body only. Pricing and availability in North America will be announced in the weeks to come.

Press Release

The new Olympus PEN E-PL9: The camera to put you in touch with your creative side

Hamburg, 07. February 2018 – While increasing numbers of people discover the joys of photography through their phones, the progression to a camera may be more than a little daunting. Boasting an envy inducing look and distinguished build quality, the new Olympus PEN E-PL9 delivers the jump in quality and creative control usually seen in much larger offerings. It also makes the transition a lot less painful through touch screen access to its new Advanced Photo mode.

Petite dimensions hide a versatile range of photographic expressions boosted further by compatibility with Olympus’ much lauded line up of more than 20 M.Zuiko lenses, such as the superb M.Zuiko Digital 45mm F1.8 for portraits that combine a flattering perspective with beautiful natural bokeh.

Film fans can now take advantage of in-body stabilized blur-free 4K movies while the new built-in flash ensures E-PL9 users are always ready for adding a splash of extra light. Anyone who can’t wait to share their new masterpieces online can take advantage of the new combined Bluetooth and Wi-Fi connectivity to smartphones.

Due for delivery in mid-March, the Olympus PEN E-PL9 will be available in white, black or brown as body only or in a kit with lens (see below for choices and pricing).

It’s all about expression

The increase in creative options a camera brings too often comes with a scary menu system to match. Seeking to break down those barriers, the Olympus PEN E-PL9 lets you start your journey of photographic experimentation gradually via touch screen selection of creative programmes before moving on to more traditional settings. Select AUTO mode to let the camera identify many photographic situations from faces to groups and even movement and choose the best setting for you in the blink of an eye. Feel the need to adjust – fear not, a touch screen control with sliders allows you to adjust brightness, colour and contrast amongst other common settings. Tilt the screen down for a superior quality selfie and you can even touch select e-Portrait to smooth skin tones in camera. All of that comes in a very small and lightweight camera body that gives away both a traditional and modern feel.

Art not just for art’s sake

Olympus pioneered Art Filters way back and touching the screen brings them to life in a new way, making comparing the effects live on screen easier than ever. Besides Bleach Bypass, Instant Film is also new to the list of now 16 Art Filters – a nostalgic nod to the exaggerated colours of the early instant cameras. Use in daylight and the effects are subtle. Use at night on people with flash and a potentially dull shot is transformed: darker areas becomes green and skin is given a warm glow, an image is created that has a modern touch with a nostalgic feel.

Building on this, Olympus has made access to scene modes available through the touch screen too. Simply double tap the image that most closely matches what you see in your mind’s eye and the camera chooses the appropriate settings. The innovative access to simpler creative control is the new Advanced Photo (AP) mode. Olympus pioneered techniques like Live Composite used to be buried deep in the camera menus, often lying undiscovered. Want to take a photo of your friend creating a light painting in front of a lit up building at night? Used to be almost impossible, now tap the icon in AP mode, put the E-PL9 on a solid surface and off you go. Explore the delights of multiple exposure, HDR, sweep panorama, even focus bracketing – a technique that is a boon for close ups.

A learning process

A new set of easy access video “How To” guides hosted on the free OI.Share app, that handles the wireless transfer of images from camera to phone, provide useful tips for operating the E-PL9. Speaking of image transfer: the E-PL9 combines Bluetooth LE with Wi-Fi to ensure that the camera is always connected with your smartphone even when “asleep”. Want to see and import some images you just shot but the camera is back in your bag? No problem. Open the app and wake up the camera without needing to get it out and switch it on.

Quality through technology

What else does the E-PL9 have up its sleeve to help your photographs stand out from the crowd? Another Olympus pioneered innovation is in-body Image Stabilization (IS). Reducing blurry shots in low light, this system is married to the fast TruePic VIII image processor from the acclaimed Olympus camera flagship OM-D E-M1 Mark II which allows the camera to choose higher shutter speeds* further improving the chances of sharp results in challenging conditions.

Learning to love lenses

A system camera lives and dies by the lenses available to suit an ever expanding range of subjects. Many current Olympus PEN users head straight for the M.Zuiko Digital 45mm F1.8 portrait lens. Why? If you come from taking portraits on phones or compact camera, the lenses are often a wider angle to be more flexible. Sadly for the human face, wide angles tend to distort features. A classic portrait lens like the 45mm F1.8, slightly flattens the perspective which is more flattering. The wider aperture also delivers a natural looking blurred background (bokeh). While phones increasingly mimic this effect, the right lens sets an image apart. One area where a system camera really excels is getting in close: macro photography. Try our “all-day” go-to macro lens M.Zuiko Digital ED 30mm F3.5 Macro with the E-PL9. For capturing details in jewellery, food, material or flowers it opens a whole new world.

On top of the currently more than 20 Olympus M.Zuiko lenses it is possible to use hundreds of legacy lenses via various adapters.

Kit choices, pricing & availability

> Olympus PEN E-PL9 body only at EUR 549 RRP*** incl. VAT from mid-March 2018

> Olympus PEN E-PL9 with M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ Pancake lens at EUR 699 RRP*** from mid-March 2018

Olympus PEN E-PL9 specifications

Price
MSRP £579/€549 (body only), £679/€699 (with 14-42mm EZ lens)
Body type
Body type Rangefinder-style mirrorless
Body material Composite
Sensor
Max resolution 4608 x 3456
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 16 megapixels
Sensor photo detectors 17 megapixels
Sensor size Four Thirds (17.3 x 13 mm)
Sensor type CMOS
Processor TruePic VIII
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 200-6400 (expandable to 100-25600)
Boosted ISO (minimum) 100
Boosted ISO (maximum) 25600
White balance presets 6
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes 3-axis
CIPA image stabilization rating 3.5 stop(s)
Uncompressed format RAW
JPEG quality levels Super fine, fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Olympus 12-bit ORF)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 121
Lens mount Micro Four Thirds
Focal length multiplier 2×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Auto
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Portrait
  • e-Portrait
  • Landscape with Portrait
  • Night Scene with portrait
  • Children
  • Hand-held Starlight
  • Night Scene
  • Fireworks
  • Light trails
  • Sports
  • Panning
  • Landscape
  • Sunset
  • Beach and Snow
  • Backlight HDR
  • Panorama
  • Candle
  • Silent mode
  • Macro
  • Nature Macro
  • Documents
  • Multi Focus
Built-in flash Yes
Flash range 7.60 m (at ISO 200)
External flash Yes
Flash modes Auto, manual, redeye reduction, slow sync w/redeye reduction, slow sync , slow sync 2nd-curtain, fill-in, off
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Sequential
  • Self-timer
  • Bracketing
Continuous drive 8.6 fps
Self-timer Yes (2 or 12 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV, 1 EV steps)
AE Bracketing ±5 (3, 5 frames at 2/3 EV, 1 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 102 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 52 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 120p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.0 LE
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Built-in
Battery description BLS-50 lithium-ion battery & charger
Battery Life (CIPA) 350
Weight (inc. batteries) 380 g (0.84 lb / 13.40 oz)
Dimensions 117 x 68 x 39 mm (4.61 x 2.68 x 1.54″)
Other features
Orientation sensor Yes
Timelapse recording Yes (Video up to 4K)
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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‘Water Torture Test’ compares Canon, Nikon, Sony and Olympus weather sealing

10 Jan

As part of their Camera of the Year comparison between the Nikon D850 and the Sony a7R III, Imaging Resource decided to test the cameras’ weather sealing with their very own “water torture test.” And just to spice things up a bit, they threw in the Canon 5D Mark IV and Olympus OM-D E-M1 Mark II for good measure.

All four cameras were subjected to a “brief, moderately heavy rain shower and misty conditions,” and despite what you may think about all top-tier cameras being more alike than different on the weather sealing front, not all four bodies coped well. You can watch the test above or visit Imaging Resource for an in-depth report on their weather sealing tests, but if you want the TL;DR (or DW), it goes something like this:

  • The Canon 5D Mark IV and Olympus OM-D E-M1 Mark II both passed without so much as a stutter. No water getting anywhere it shouldn’t have.
  • The Nikon D850 sprung a small leak into the viewfinder unless the Nikon BS-3 hot shoe cover was used. Everything else stayed dry.
  • The Sony a7R III performed the worst by far, leaking a significant amount of water into the battery compartment (seemingly from above), and malfunctioning entirely during IR’s 15-minute ‘heavy mist’ test.

Of course, one should be careful making sweeping generalizations based on testing one copy of each camera, but if this test is indicative of all Sony a7R III’s weather sealing, Sony might want to take note of IR’s results as they go about designing the Mark IV.

Check out the in-depth review for more details on how each of the four models performed.

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Utah with Scott Rinckenberger and the Olympus OM-D E-M10 III

01 Jan

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We recently spent some time in Moab, Utah with seasoned adventure photographer Scott Rinckenberger. The area’s incredible landscapes and wide array of outdoor activities made for a very photogenic few days – here are some of the still images Scott captured along the way. For the full story behind the photos, check out our video.

This is sponsored content, created with the support of Amazon and Olympus. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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The Olympus TG-5 and Nikon Coolpix W300 go to Puerto Rico

16 Dec

José Francisco Salgado is an astronomer, science photographer, and visual artist. His series of Science & Symphony films that have been presented in more than 200 concerts in 15 countries. He is a native of Puerto Rico.

Editor’s note: The events described in this article took place several weeks prior to the arrival of Hurricane Maria, which caused catastrophic damage to Puerto Rico and other islands in the Caribbean.

Last summer I traveled to Puerto Rico to do some night photography for a new Science & Symphony film I’m producing. I was planning to photograph the Milky Way and the ocean at the same time, though it’s difficult to visit tropical beaches and limit yourself to work.

I shoot my time-lapse sequences with Nikon DSLRs, but decided to bring along two ‘rugged’ cameras, the Nikon Coolpix W300 and Olympus TG-5, for casual shooting. These point-and-shoot cameras are shockproof (rated to resist drops from at least 2.1m / 7ft) and waterproof (to depths of at least 15.2m / 50ft), so my motivation was to use them while snorkeling with my fiancée, Paula.

She was more than happy to try these cameras, and since she’s not a professional photographer I thought it would be good to get her impressions of them as well. I wanted to find out how intuitive the controls were myself, so I decided to consult the manuals only when needed.

Olympus TG-5 sample gallery

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One big difference between the cameras that’s worth calling out is Raw support: the TG-5 allows you to capture Raw images, but the W300 shoots only in JPEG. I found myself processing the images from both cameras quite a bit in Adobe Lightroom to get pleasing results, though with the Nikon I was limited to editing out-of-camera JPEGs.

I really like the fact that both cameras have built-in GPS for geotagging photos. (You can read the metadata in the sample galleries if you want to know exactly where these photos were taken.) Unfortunately, after returning from the trip I noticed that the cameras, especially the TG-5, didn’t geotag consistently.

Nikon W300 sample gallery

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Since the W300 doesn’t save Raw files, I’ve included both out-of-camera JPEGs and my edited JPEGs in this sample gallery.

After landing in San Juan, we headed eastward toward our base in Playa Azul in Luquillo. Playa Azul, aka the Costa Azul, is a beach with golden sand and turquoise water. We took some photos along the surf and started to familiarize ourselves with the cameras. Paula noticed how much easier it was to operate the zoom lever on the TG-5, which is sideways and closer to the shutter, than on the W300, which moves up and down. Nevertheless, the optical zoom itself worked well in both cameras. Paula also preferred the grip on the TG-5.

We then headed to Cabo Rojo in the southwest corner of the island to photograph the disk of our Galaxy setting in the Caribbean Sea in the context of the rugged coastline and promontory of Los Morrillos. We returned to the site during the day with our point-and-shoot cameras to photograph the coastline and the popular stone bridge.

Puerto Rico’s Playa Azul has golden sand and turquoise water.
Olympus TG-5
ISO 100 | 1/400 sec. | F8
Photo by Paula Bressman

After Cabo Rojo, we spent a night at the Punta Tuna Wetlands Nature Reserve in Maunabo in order to photograph The Milky Way and the Punta Tuna Lighthouse. We did some scouting around the wetland and Playa Larga, where we appreciated the advantage of shooting in Raw on the TG-5. In the split-screen image below, you can see how much more information I was able to extract by processing the Raw file in Lightroom.

Olympus TG-5 (SOOC) Olympus TG-5 (Processed in Lightroom)

Our next site was Culebra, an island-municipality east of Puerto Rico, which is quickly reached by plane. During the 15-minute flight, Paula captured a nice photo of a young boy transfixed by the view from the small plane using the W300. I was able to pull a bit more shadow detail from the JPEG file, but decided not to so the viewer could focus on the boy’s attentive face.

Then it was finally time to take the cameras underwater, so we took them to a couple of beaches in Culebra, Playa Melones and Playa Tamarindo. (We preferred Playa Melones due to its abundance of coral reefs and marine life.)

To use the cameras underwater all you need to do is secure a lock (or two, in the case of the TG-5) and enjoy! Considering that these cameras don’t float, I recommend using the included straps to avoid accidental loss in deep water. Regardless of how much underwater photography you’re interested in doing, it’s good to know that you can bring these cameras into the water instead of leaving them unattended on the beach.

My fiancée, Paula, captured this photo during our flight to Culebra.
Nikon W300
ISO 400 | 1/1000 sec. | F2.8
Photo by Paula Bressman

The color rendition on the TG-5’s underwater photos was much better, so I decided to shoot more with it while snorkeling. Underwater, colors change based on lighting conditions, depth, water transparency, and amount of sunlight, so I was also intrigued to see how the TG-5’s flash would perform underwater. I found that many of the images came out overexposed or washed out, so I stuck to using the best natural light possible (read waiting for passing clouds).

The TG-5 has an Underwater Mode that, according to the manual, is optimized for underwater photography using natural light, so I decided to use it. According to the manual it should automatically set the ISO sensitivity with a priority on image quality. That is, the camera starts with a low ISO value and sets the corresponding exposure parameters (speed and aperture), then increases the ISO value as needed.

Snorkeling near Playa Tamarindo.
Olympus TG-5
ISO 100 | 1/320 sec. | F2.8
Photo by Jose Francisco Salgado

As sunlight started to diminish, it surprised me that the TG-5 would lower the speed all the way down to 1/60 second while maintaining ISO 100 instead of increasing the ISO! I understand that auto-ISO increases the ISO as a last recourse, but I was shooting in Underwater Mode. This mode should consider that sea currents are moving the photographer, who is often trying to capture moving fish or other animals. A speed of 1/60 second won’t cut it.

I decided to manually change the ISO to a higher value, but alas, it was impossible to figure out how to change this setting without reading the manual, and therein lies my frustration. I can deal with a program mode not giving the results that I expect, however I do expect to be able to look at the buttons and quickly figure out how to change the parameters that I need to change. The problem wasn’t pressing small buttons underwater, but not having an intuitive way to change values. As a result, some of the sea creatures I photographed are motion-blurred. Nevertheless, I’m content the photos I got of the carey de concha (Hawksbill sea turtle).

Throughout a day of snorkeling I got the impression that battery life on the W300 was underwhelming compared to the TG-5.

Shooting underwater with the Olympus TG-5.

On our last day in Culebra, stormy weather moved into the Caribbean. Conditions were windy, but safe, so we hopped into our rented golf cart and ventured out to enjoy two beaches which have been rated among the most beautiful in the world, Playa Flamenco and Playa Zoní.

Upon arrival at the Playa Zoní, it took us sixty seconds to make new friends, Magdamarys, Michelle, and Javier. Michelle, an awesome salsa dance instructor, proceeded to teach Paula how to salsa as seen in the video below, shot with the W300. It was the perfect way to end our stay in Culebra.

I captured this salsa dancing at Playa Zoní, considered one of the most beautiful beaches in the world, using the Nikon W300.

Back on the main island, we used the cameras one last time in El Yunque Rainforest, where Paula enjoyed the cool and refreshing water of the Juan Diego Waterfall.

Video of the Juan Diego Waterfall in El Yunque Rainforest, captured by the Olympus TG-5.

Final Thoughts

Although we didn’t drop or mishandle these cameras, they appear to be very rugged. They’re definitely waterproof, and it was easy to operate them underwater, however the user interfaces could be much simpler. I have apps on my iPhone than can control the camera in a simpler and more intuitive way than either of these cameras. Then there’s image quality. Lack of Raw support on the W300, and the poor image quality of the resulting JPEG files, disqualifies the camera for me.

Although I appreciated having more processing latitude with the TG-5’s Raw files, that doesn’t mean I’m very impressed with the image quality either. Nevertheless, it’s definitely superior to the image quality produced by the W300, even when comparing out-of-camera JPEGs. When processing images from the TG-5 be ready to correct for chromatic aberration, because it can be severe (this wasn’t an issue with the W300).

Although I appreciated having more processing latitude with the TG-5’s Raw files, that doesn’t mean I’m very impressed with the image quality either.

The TG-5 also failed to focus several times under normal indoor lighting conditions, including once outside right after sunset. I didn’t encounter any focusing issues with the W300. I was also happy to see that the TG-5 has a panorama feature, but it completely failed several times and produced horribly stitched images.

These cameras are a great option for you if you’re looking for a rugged point-and-shoot camera that works underwater, which is their main strength. If you’re just looking for a camera that’s more compact than a DSLR, or that has a better zoom range than your smartphone, they’ll work for that as well. However, considering the prices, you might also want to consider other compact cameras or even stick with your smartphone.

Readers wishing to contribute to ongoing hurricane relief efforts in Puerto Rico are encouraged to visit United for Puerto Rico.

José Francisco Salgado, PhD is an Emmy-nominated astronomer, science photographer, visual artist, and public speaker who creates multimedia works that communicate science in engaging ways. His Science & Symphony films with KV 265 have been presented in more than 200 concerts and lectures in 15 countries.

José Francisco is a seasoned night sky and aurora photographer and filmmaker. If you would like to view, photograph, and learn about the Northern Lights then you can inquire about his Borealis Science & Photo Tours in Yellowknife, Canada.

You can follow him on: Flickr, Instagram, 500px, Facebook, and Twitter

Articles: Digital Photography Review (dpreview.com)

 
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Shooting with the Olympus OM-D E-M10 Mark III in Moab

14 Dec

Moab, Utah is known for its unique desert landscapes as well as a multitude of adventurous outdoor activities. We traveled there recently with photographer Scott Rinckenberger, no stranger to adventure himself, for an action-packed weekend of rock climbing and mountain biking – with a sunrise helicopter ride for good measure.

The Olympus OM-D E-M10 III came along on the trip too, putting its 5-axis image stabilization and 4K video capture capabilities to work. Take a look at all of the dizzying heights we took it to in the video above.

Read more about the
Olympus OM-D E-M10 Mark III

This is sponsored content, created with the support of Amazon and Olympus. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Olympus 45mm F1.2 Pro sample gallery updated

13 Dec

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The Olympus 45mm F1.2 is one of the company’s three F1.2 lenses, promising ‘feathered’ bokeh wide open, and a portrait-friendly effective focal length of 90mm. We’ve had one for a while, and we just updated our samples gallery with some F1.2 images shot on an Olympus-organized trip to Charleston, South Carolina.

See our Olympus 45mm F1.2 Pro
sample gallery

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Olympus 17mm F1.2 Pro sample gallery

10 Dec

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The Olympus 17mm F1.2 promises to open up new possibilities for Micro Four Thirds shooters seeking razor-thin depth-of-field and smooth, ‘feathered’ bokeh. We’ve had the chance to do some shooting with it both close to home and on the road in Charleston, South Carolina. Take a peek at our extensive sample gallery.

See our Olympus 17mm F1.2 Pro
sample gallery

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Gear of the Year 2017 – Jeff’s choice: Olympus Tough TG-5

09 Dec

I try to make it to the Hawaiian Islands every year and I have a pretty good success rate. When I go, usually to Maui, I make it a point to spend most of my mornings snorkeling. In the afternoons I’ll hop in an air conditioned car and explore the island which, even after many (many) trips, is still exciting.

Hungry hungry honu, Kaanapali, Maui. Cropped out-of-camera JPEG.
ISO 100 | F3.5 | 1/250 sec | 33mm equiv | Photo by Jeff Keller

Since I want to memorialize any encounters with sea turtles or dolphins that may occur while I’m snorkeling, that really narrows down my camera choices. I’m not hardcore enough to bring a large camera in a big housing; rather, I want something I can slip into the pocket of my swimsuit while I’m struggling to put on my fins. I also need a camera that can capture the beautiful rainbows and sunsets that are almost a daily occurrence. The camera that covers both bases for me is the Olympus Tough TG-5.

The TG-5 has a great macro mode, with a 1cm minimum focusing distance. It captures plenty of detail, as you can see from this photo of my lunch.
ISO 100 | F2.8 | 1/160 sec | 24mm equiv | Photo by Jeff Keller

To be honest, 2015’s TG-4 didn’t need a lot of improvements. It had solid image quality for a compact, a lens that’s fast at its wide end, Raw support, a GPS, manometer, thermometer, and compass, along with respectable battery life. It could take a beating and, unlike some underwater compacts I’ve tested, didn’t leak at all when it went diving. The main things that irked me about the TG-4 were its awkward zoom controller, limited aperture choices and too much noise reduction in JPEGs.

I love having Raw on the TG-5, as it lets me get rid of the overly blue color cast that sometimes appears in underwater photos, even when using the u/w white balance setting. You can also customize the noise reduction, though don’t expect miracles from this 1/2.3″ sensor. The in-camera converter is clunky so I just used ACR in Photoshop.
ISO 200 | F5 | 1/250 sec | 67mm equiv | Photo by Jeff Keller

The TG-5 was exciting because of the drop in resolution (from 16MP to 12MP), which I hoped would improve pixel-level image quality, plus the addition of more tracking functions, 4K video and (yes!) an improved zoom controller. Olympus also finally switched to an actual micro-USB port instead of using the same proprietary connector that’s been used for 15 years. The burst rate has jumped to 20 fps, so you can just mash the button down and hope to get a decent shot of a fast-moving sea turtle or surfer. Unfortunately there are still just three apertures to choose from at any time (the camera uses an ND filter to “stop down” the lens,) but that rarely held me back.

A select from a 20 fps burst taken while floating next to Black Rock. Unfortunately, some water droplets didn’t roll off the lens like they’re supposed to. Cropped out-of-camera JPEG.
ISO 100 | F2.8 | 1/800 sec | 24mm equiv | Photo by Jeff Keller

As mentioned above, the main reason I brought the TG-5 to Maui was for underwater photos, and it rarely disappointed, as long as you remember that it’s a compact camera. It literally takes no effort to transition from ‘regular’ to underwater shooting, as there’s a dedicated spot on the mode dial for that purpose. Generally I left it at the default setting: Underwater Snapshot, since it uses natural light and the flash is fired only when necessary. There’s an a multi-shot underwater HDR mode, though given the motion of myself, the camera and the fish, the chance of getting a sharp photo is near zero.

The TG-5 isn’t just waterproof to 50 feet / 15 meters (and more if you buy the optional housing). It’s also shockproof from 7ft/2.1m, freezeproof to -10°C/+14°F and crushproof to 220lbs/100kg. On this trip I dropped and nearly crushed my glasses on the slopes of Haleakal?, heavily scratching the lenses on rough lava sand. I’m pretty sure the TG-5 would’ve fared better.

The addition of 4K (UHD) support is a welcome one, though for some reason you have to enter the dedicated movie mode to use it, rather than just selecting it like any other resolution. If you’re underwater that means that you have to re-select underwater white balance if you want things to look good. While not mind-blowing, video quality is good for the sensor size. Something worth pointing out is that if you zoom the lens, the microphone will pick up the sound, especially underwater.

I’m a big fan of the colors in Olympus’ JPEGs. Black Rock, Kaanapali, Maui.
ISO 100 | F8 | 1/250 sec | 24mm equiv | Photo by Jeff Keller.

Pictures I took ‘on land’ were very nice, though keep your expectations in check on this compact camera: there is a lot of noise reduction and the lens is somewhat soft. Maui is a colorful place and the TG-5 does a great job of capturing it.

Something that Olympus brought over from its TG-Tracker is the ability to compile all of the data the GPS, manometer and compass are capturing and display it in a graph in the OI.Track app. (This is a separate app that OI.Share, which is used to download photos and remotely control the camera.)

My route from the summit of Haleakala (around 10,000 feet) back to sea level in Kaanapali. Here’s the change in elevation during my drive, with the dots illustrating where I took photos, which you can view in the app.

Even if it’s sort of a novelty, I still think it’s cool being able to see where in your journey you took photos, and what the conditions were. One more thing that I appreciate is the ability to check all of that sensor data at any time, even when the camera is off, by pressing the Info button. You also turn on the camera’s very bright LED illuminator by holding the same button down for several seconds.

Yet another sunset photo.
ISO 100 | F5.6 | 1/200 sec | 72mm equiv | Photo by Jeff Keller.

While I wouldn’t bring it on a once-in-a-lifetime trip where I want top-notch photo quality, for cruises, tropical vacations, hiking or climbing, the TG-5 would be the camera I pack in my bag due to its compactness, feature set and ruggedness.

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Top 10 sample galleries of the year #7: the Olympus Tough TG-5

18 Nov

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We’re counting down our top 10 most popular sample galleries of 2017. At #7 we have the Olympus Tough TG-5. And here we thought the compact camera market was dead!

All joking aside, this is a lovely little camera. Read why we called it ‘best rugged compact you can buy right now.’ It features a 25-100mm equiv zoom lens and has a hermetically sealed body making it waterproof down to 15m/50ft, drop proof from 2.1m/7ft, crush proof up to 100kg/220lb and freezeproof to -10C/+14F.

And for more on the TG-5 here’s another full gallery we shot with it on a trip to the Washington Coast:

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Top 10 most popular sample galleries of 2017:

#10: Sigma 14mm F1.8 Art
#9: Fujifilm GFX 50S
#8: Nikon D7500
#7: Olympus Tough TG-5
#6: To be revealed on 11/19
#5: To be revealed on 11/20
#4: To be revealed on 11/21
#3: To be revealed on 11/22
#2: To be revealed on 11/23
#1: To be revealed on 11/24

Articles: Digital Photography Review (dpreview.com)

 
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