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The new Olympus E-M5 Mark III is a mini E-M1 II

19 Oct

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Olympus has announced the OM-D E-M5 Mark III – a more compact camera than its predecessor, which incorporates a lot of technology found previously in the higher-end E-M1 Mark II.

In order to reduce the volume of the camera, Olympus miniaturized several components, most notably the image stabilizer. Despite being smaller, the camera can still reduce shake by up to 5.5 stops on its own, and 6.5 stops with a compatible lens: both of which are a half-stop better than on its predecessor. Olympus also switched to a more compact battery, the BLS-50, while maintaining the same stated battery life numbers as the old BLS-1.

Aside from being smaller, the design of the Mark III isn’t far off from that of its predecessor, with the major changes being adjustments to the top plate, improved weather-sealing (the camera is now IPX1-rated) and a new EVF. The Mark III’s EVF is smaller than on the Mark II, with a magnification of 0.68x equiv. versus 0.74x, though it is OLED rather than LCD, promising a more lifelike, higher-contrast view.

From a technological perspective, the E-M5 III is basically a mini E-M1 II. It uses the same 20MP Four Thirds sensor and 121-point phase + contrast detection AF system, and includes features like a 50MP high-res shot mode, 30 fps burst shooting (10 fps with continuous AF), an anti-flicker mode and UHD/DCI 4K capture. The Mark III also gains additional Art Filters and Bluetooth.

The OM-D E-M5 Mark III will be available in late November in your choice of black and silver bodies. The body is priced at $ 1199, while adding the 14-150mm F4-5.6 II lens brings the cost up to $ 1799. A battery grip, the ECG-5, features a shutter release and control dial and will sell for $ 169.

Read our initial review of the E-M5 III

Press Release

NEW OLYMPUS OM-D® E-M5 MARK III EMPOWERS YOU TO BREAK FREE FROM HEAVY GEAR

A Compact, Lightweight Interchangeable Lens Camera Packed with Advanced Functions Derived from Professional OM-D Models

CENTER VALLEY, Pa., October 17, 2019 —Today, Olympus announces the newest addition to its OM- D lineup, the Olympus OM-D E-M5 Mark III. Featuring much of the cutting-edge technology found in the OM-D E-M1 Mark II professional model, this compact, lightweight, weather-sealed camera1 includes a 20 megapixel Live MOS sensor, powerful 5-Axis in-body Image Stabilization with up to 5.5 EV steps of compensation (6.5 EV steps with Sync IS), 30 frames per second sequential shooting, high speed and high precision autofocus capabilities using 121-point all cross-type on-chip phase detection AF, as well as versatile shooting features such as Live Composite and Focus Stacking and advanced features such as Cinema 4K Video and Pro Capture, all packed into a powerfully, portable body. Paired with the superior resolution of Olympus M.Zuiko® lenses, this weather-sealed system is the ultimate travel companion for the on-the-go photography enthusiasts.

Compact, Lightweight, weather-sealed System

Many components of the E-M5 Mark III, including the image stabilization unit, have been miniaturized in an effort to deliver the smallest body possible. Dramatic improvements in power-saving performance make it possible to use the more compact BLS-50 battery to enhance the lightweight, compact design. The compact system size means that users can shoot for long periods of time in locations where tripods cannot be used ensuring no missed photo opportunities. Experience complete system mobility when pairing the E-M5 Mark III with the diverse lineup of high-resolution, lightweight, interchangeable M.Zuiko lenses.

The Olympus OM-D E-M5 Mark III is equipped with features found in high-end OM-D models, packed in a compact body that is approximately 55% the volume of competitive full-frame mirrorless systems2. It features the highly acclaimed dustproof, splashproof and freezeproof weather-sealed design that Olympus is known for, to allow continuous shooting even in the most severe environmental conditions. The E-M5 Mark III delivers a modern take on the striking, iconic design of the traditional OM system with advanced styling, including a moulded exterior, refined grip and a retooled mode dial. The body also features an updated Custom Mode setting, to recall frequent settings for easy access while shooting. The BLS-50 battery contributes to the compact, lightweight body while offering a power saving design, allowing the same number of shots as its predecessor. The BLS-50 battery captures approximately 310 shots per charge.

Outstanding Image Quality

The OM-D E-M5 Mark III boasts the same 20 Megapixel High-Speed Live MOS Sensor found in the OM-D E-M1 Mark II, offering superior performance, exceptional clarity and speed in all aspects of image capture. Maximizing that performance are the TruePicTM VIII image-processing engine and 5-Axis Image Stabilization unit. When paired with high-resolution M.Zuiko Digital lenses, it is capable of capturing images with minimal noise even at high-sensitivity settings, and delivers high image quality with minimal distortion up to the edges of the shot.

The E-M5 Mark III features Anti-flicker Shooting to help suppress the effect of flickering light sources while using both the mechanical and electronic shutter.

High Speed AF Performance

The OM-D E-M5 Mark III is equipped with 121-point all-cross type On-chip Phase Detection AF for precision focusing, even for fast-moving subjects where focus is difficult, or in low light situations, a staple feature in the E-M1 Mark II. Unlike DSLR cameras, there is no degradation in AF precision when using a fast lens. The E-M5 Mark III offers high precision, high-speed focusing from the maximum aperture setting with all M.Zuiko Digital lenses, regardless of subject patterns. The algorithm has been improved over previous models, preventing focus from unexpected jumping to the background, even in mixed perspective scenes with near and far subjects.

Select from six AF target options, including single, 5-point, 9-point, 25-point, 121-point and small. AF/AE tracking supports 10fps high-speed sequential shooting (silent sequential shooting L) and 30fps with focus and exposure locked after the first frame, for capturing subjects with intense movements. The moving subject tracking algorithm utilizes AF information from both Live View images and recorded images to enable quick tracking of unpredictable subject movement and changes in subject speed. Experience superb AF operability while using the touch pad to move the AF frame while tracking a moving subject. Use the Touch Shutter/Touch AF on the LCD screen to select your area of focus within the frame.

Pair the E-M5 Mark III with M.Zuiko Digital lenses for quiet, fast focusing, using an actuator that enables high-speed, high-precision, quiet lens driving. The high-speed, high-precision AF of the E-M5 Mark III brings out the full potential of the superior focusing available with M.Zuiko Digital lenses.

Compact Image Stabilization Unit

The 5-Axis Image Stabilization device, including the actuator, has been redesigned for the E-M5 Mark III in order to deliver a higher level of stabilization in a smaller package, resulting in a smaller and lighter body. Based on camera shake information obtained from the high-sensitivity gyro sensor and image analysis, the TruePicTM VIII image processor precisely controls the image stabilization unit to provide up to 5.5 shutter speed steps of compensation performance, reducing blur caused by camera shake. Increase that to 6.5 shutter speed steps3 with 5-Axis Sync IS when the OM-D E-M5 Mark III is paired with M.Zuiko Digital lenses equipped with in-lens image stabilization4.

OM-D Movie 4K Video Capture

Record high quality, Cinema 4K video with minimal camera shake, even while shooting handheld. The E- M5 Mark III supports C4K 24p, Full HD 30 fps, All-Intra and Full HD 60p. Information from the On-chip Phase Detection AF sensor is used for optimal focusing when recording video. With this, users can record 4K 30P high-definition video. Combining 5-Axis Image Stabilization with electronic stabilization make it possible to record stable video with minimal camera shake. No special stabilization equipment is required, even during active movement.

Olympus Core Competencies

Olympus interchangeable lens camera systems’ biggest benefit is its amazing mobility, thanks to the compact, lightweight nature of the cameras and powerful image stabilization, combined with an entire lineup of high-resolution and high-performance M.Zuiko lenses–resulting in consistently sharp, high-quality photos and video.

Versatile Shooting Features

Long Exposure Shooting

Long exposure shooting is made easier with several amazing features pioneered by Olympus: Live Composite, Live Bulb and Live View. Live Composite creates a single image from multiple shots by compositing (stacking) them together. This mode combines long-exposure with compositing and is incredibly useful and easy-to-use. Applications for Live Composite vary from star trails, Milky Way, auroras, light painting, light trails, fireworks and so much more. Live Bulb allows the photographer to hold the shutter release to begin the exposure and watch the image build on the LCD screen. Simply release the shutter when you feel the image has reached the exposure of your liking. Live View sends a live image feed from the camera’s sensor to the LCD, allowing the user to compose shots from a variety of angles, with the ability to adjust composition, change exposure and white balance using the LCD screen.

Pro Capture

Pro Capture mode makes it possible to record scenes that are difficult to time at a full pixel count of 20M, such as a bird taking flight. From the moment the shutter button is pressed fully, 14 frames are retroactively recorded and retained, making capturing the perfect shot simple. Up to 30 fps high-speed shooting is available in Pro Capture H. RAW recording is also supported.

Focus Bracketing and Focus Stacking

Focus Bracketing can capture up to 999 shots with a single shutter activation while shifting the focal position slightly between each shot. The amount of focal shift can be selected from 10 levels, and recorded images can be combined into one single, evenly exposed image, using Olympus Workspace V1.1 image editing software. It is possible to create a single image with a depth of field that cannot be obtained simply by stopping down the aperture. Because the aperture is not stopped down too far during shooting, this feature also enables high image quality. The camera is also equipped with Focus Stacking, which automatically composites images on the camera. Eight photos with different focal positions are composited on the camera for a photo with a greater depth of field that is in focus from the foreground to the background.

50MP Tripod High Res Shot

Tripod High Res Shot shifts the image sensor in 0.5-pixel increments while capturing eight sequential shots. These shots are then merged into a single 50MP equivalent high-resolution photo. This feature is perfect for landscape shots, product photography in a studio, and other situations that require ultra-high-resolution images.

Other Features

Large, High-Visibility Viewfinder

This model features an approximate 2.36 million-dot, high-contrast OLED panel for vivid colors and an EVF (electronic viewfinder) optical system for minimal distortion to the edges of the screen. Such a design makes framing more accurate so the user can concentrate on shooting. The long eye point makes it easy to check overall framing, even when wearing glasses.

1/8000 Second High-Speed Mechanical Shutter

The E-M5 Mark III features a high-speed mechanical shutter that operates up to 1/8000 second, making it possible to shoot at a wide aperture setting for defocusing effects even when using a large-diameter lens in bright outdoor conditions.

SCN (Scene) Mode

In SCN mode, simply choose one of six themes and select the photo most like the scene you want to capture to activate optimal settings.

Art Filter

Equipped with 16 Art Filter options, you can capture creative photos using simple controls with the E-M5 Mark III. While checking the filter effect on the LCD monitor, you can create images that are uniquely your own.

Easy Wi-Fi® Connection to Smartphones via Bluetooth®

The E-M5 Mark III is equipped with Wi-Fi compatibility. Bluetooth can be used to automatically connect the camera to a smartphone simply by starting up the Olympus Image Share (OI.Share) smartphone app for transferring recorded images to a smartphone via Wi-Fi. By using the Share Order function, selected images on the camera can be quickly and automatically transferred to your smartphone.

Custom Mode

Register your frequently used camera settings to Custom (C on the mode dial) with the E-M5 Mark III. After being registered, simply set the mode dial to C to instantly activate and shoot using saved settings.

USB Charging

USB charging is available on the E-M5 Mark III for charging the battery on the move, when the camera is not in use.

Available Accessories

ECG-5 Dedicated External Grip (New, Sold Separately)

Compatible ECG-5 dedicated external grip for an expanded, sure grip, equipped with a shutter release and control dial.

Electronic Flash, FL-900R (Sold Separately)

This high-power flash with a maximum guide number of 58 synchronizes high-speed sequential shooting5. It has an angle of illumination of 24-200mm6 and 14-20mm7 when used with the wide panel. It features dustproof, splashproof, and freezeproof performance and can be used with the separately sold FR-WR Wireless Receiver for wireless7 flash firing via radio signal. It can also be used to wirelessly fire the bundled flash FL-LM3.

Electronic Flash, FL-700WR (Sold Separately)

This compact, lightweight electronic flash has a maximum guide number of 42. It delivers stable wireless communication even in bright outdoor locations and when used around obstacles and functions as a commander/receiver. Because it features a dustproof, splashproof and freezeproof construction, it can be used in any type of shooting scene. It can also be used to wirelessly fire the bundled flash FL-LM3.

Macro Flash, STF-8 (Sold Separately)

This macro flash is perfect for using the two heads to produce images with a greater sense of three- dimensional space and has a guide number of 8.5 (2 heads) or 6 (1 head). It features a dustproof, splashproof, freezeproof construction for outdoor use and supports the unique Olympus Focus Stacking feature for photos with a greater level of creativity. Lenses compatible with the bundled ring adapter are M.Zuiko Digital ED 30mm F3.5 Macro, M.Zuiko Digital ED 60mm F2.8 Macro, and M.Zuiko Digital ED 12- 40mm F2.8 PRO.

Large Eyecup, EP-16 (Sold Separately)

This accessory blocks external light making the viewfinder easier to use. By using materials with elastic properties, the eyecup fits all eyes, regardless of whether the user is wearing glasses or not. Support from both the eye area and both arms improve stability for a posture that reduces camera shake.

Remote Cable, RM-CB2 (Sold Separately)

A pin jack-style shutter release cable equipped with a convenient bulb lock for long exposures. The cable is approximately 80 cm long.

Compact Gun Microphone, ME31 (Sold Separately)

A directional gun microphone is useful when recording sounds outdoors such as birds singing. The adoption of machined metal body makes it very sturdy. It can be attached to the hot shoe of the E-M5 Mark III with a commercially available hot shoe mount.

Pricing and Availability

The Olympus OM-D E-M5 Mark III will be available in both black and silver in late November. The camera body only will have a suggested retail price of $ 1,199.99 USD and $ 1,499.99 CAD and the camera body with the M.Zuiko Digital ED 14-150mm F4.0-5.6 II lens will have a suggested retail price of $ 1,799.99 USD and $ 2,249.99 CAD8.

1) When paired with a weather-sealed lens.
2) As of October 2019 and when large diameter standard zoom lens is attached.
3) M.Zuiko Digital ED 12-100mm F4.0 IS PRO at a focal distance of f=100mm (35mm equivalent: f=200mm), halfway release image stabilization: Off, frame rate: high speed. CIPA standards compliant on two axes (Yaw and Pitch).
4) M.Zuiko Digital ED 12-100mm F4.0 IS PRO, M.Zuiko Digital ED 300mm F4.0 IS PRO (as of October 17, 2019)
5) Maximum 10 fps at a flash ratio of 1/32.
6) 35mm equivalent.
7) Electronic Flash FL-700WR or Wireless Commander FC-WR must be attached to the hot shoe of the OM-D E-M5 Mark III.
8) Launch offers may apply.

Olympus OM-D E-M5 III specifications

Price
MSRP $ 1199 (body only), $ 1799 (w/14-150mm lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 22 megapixels
Sensor size Four Thirds (17.4 x 13 mm)
Sensor type CMOS
Processor TruePic VIII
Color space sRGB, AdobeRGB
Color filter array Primary color filter
Image
ISO Auto, 200-25600, expands to 64-25600
Boosted ISO (minimum) 64
White balance presets 7
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 6.5 stop(s)
Uncompressed format RAW
JPEG quality levels Superfine, fine, normal, basic
File format
  • JPEG (Exif v2.31)
  • Raw (Olympus ORF, 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • 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 Fully articulated
Screen size 3″
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 1.37× (0.68× 35mm equiv.)
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/8000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • iAuto
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
  • Bulb
  • Time
Scene modes
  • Portrait
  • e-Portrait
  • Landscape + Portrait
  • Night + Portrait
  • Children
  • Night scape
  • Sport
  • Hand-held Starlight
  • Fireworks
  • Light trails
  • Sports
  • Panning
  • Landscape
  • Sunset
  • Beach & Snow
  • Backlight HDR
  • Candlelight
  • Silent
  • Macro
  • Nature Macro
  • Documents
  • Multi Focus Shot
Built-in flash No (Compact external flash included)
External flash Yes (via hotshoe)
Flash modes Auto, redeye, fill, off, redeye slow sync, slow sync, 2nd-curtain slow sync, manual
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Sequential (hi/lo)
  • Self-timer
Continuous drive 30.0 fps
Self-timer Yes (2 or 10 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV, 1 EV steps)
AE Bracketing ±5 (2, 3, 5 frames at 1/3 EV, 2/3 EV, 1 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 4096 x 2160 @ 24p / 237 Mbps, MOV, H.264, Linear PCM
  • 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 @ 23.98p / 102 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 202 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 202 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 202 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-II supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth
Remote control Yes (wired and via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description BLS-50 lithium-ion battery & charger
Battery Life (CIPA) 310
Weight (inc. batteries) 414 g (0.91 lb / 14.60 oz)
Dimensions 125 x 85 x 50 mm (4.92 x 3.35 x 1.97″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Olympus E-M5 Mark III

17 Oct

Hands-on with the Olympus OM-D E-M5 Mark III

Meet the newest member of the Olympus Micro Four Thirds family: the OM-D E-M5 Mark III. Coming in more than four years after its predecessor was released, Olympus has really stepped up the specs of the E-M5 III, managing to fit an awful lot from its higher-end E-M1 Mark II into a much smaller overall package. Is it worth the wait? Let’s take a closer look and find out.

New sensor, autofocus system and stabilizer

To start, the E-M5 III comes with a new 20MP sensor and 121-point phase-detection autofocus system which are backed up by a new ‘Truepic VIII’ image processor, all of which are lifted from the E-M1 II. The resolution bump is welcome, of course, over the E-M5 II’s 16MP of resolution, but the older camera only utilized contrast-detection autofocus. The adoption of phase-detection should make the E-M5 III a more tempting option for users that want to photograph moving subjects.

There’s also an updated, more compact in-body image stabilizer, promising 5.5 stops of shake reduction with a non-stabilized lens, while putting on a stabilized lens gets you 6.5 stops using ‘Sync IS’. That means you should be able to hand-hold pretty slow shutter speeds and still get sharp results, so you can keep your ISO value down in low light or simply leave a tripod at home in some situations.

Lastly, the new sensor and AF system now allow the E-M5 III to fire at a maximum burst rate of 10 fps with full autofocus and auto exposure (and up to a 30 fps mode with manual focus), and Olympus claims equal tracking performance to the E-M1 Mark II. It also gains a Pro Capture mode, which captures 30fps bursts, but saves 15 of them prior to the moment you hit the shutter – a great feature for peak action moments.

Top-plate controls

The top plate of the camera has been extensively redesigned, and is far more similar in layout to that of the E-M1 II. The power switch is in the same place as the old model, but the mode dial is now on the right side of the viewfinder hump instead of the left, and the left shoulder adopts drive and display buttons that are also customizable.

Clip-on flash

Just like its predecessor, the E-M5 III has no built-in flash, but Olympus includes the FL-LM3 compact clip-on unit that allows for tilting and bouncing. The external design helps the camera stay smaller and better sealed, but the fact that it can articulate makes it much more versatile than a fixed or pop-up strobe that’s built in. It’s a really nice touch, and as an added bonus, the flash is advertised as being splash and dust resistant.

Rear controls

The E-M5 III’s rear control layout is actually pretty similar to the older model, which isn’t a bad thing – but the ‘Fn’ rocker switch is now textured for easier operation, and the top right thumb pad gains a dedicated ISO button. The screen is unchanged, coming in at 3″ and 1.04M dots. Olympus has added the ability to drag your finger around on the touchscreen to move your autofocus point while the camera is to your eye – and you can quickly enable or disable this feature by double-tapping. Pretty snazzy.

The viewfinder has seen some updates as well, including…

OLED Electronic viewfinder

…an increased eyepoint spec, which should make it easier for eyeglass-wearers to get the full view of the 2.36M-dot panel. Plus, that panel is now OLED, which is a welcome update to the previous model’s LCD tech thanks to greater contrast. Unfortunately, there has been a tradeoff – the magnification has fallen from approximately 0.74x to 0.68x.

Ports

Like the older model, the E-M5 III comes with a microphone port to get you better audio when recording video (and more on video very shortly), but no headphone port to monitor audio during recording. The other ports have been updated, though – gone is the proprietary USB / A/V-out connector (hooray!), and in its place are standard micro USB, micro HDMI and remote trigger ports. The camera can also be charged over its USB connection, but Olympus still includes a dedicated charger in the box, which we always like to see.

Video

The E-M5 III is, like Olympus’ other models, now capable of shooting 4K video at up to 30 frames per second with no crop. We haven’t yet been able to test its quality, but we expect it to look quite good. Even the lower-end E-M10 III can capture impressively detailed 4K footage, and the E-M5 III inherits that camera’s effective digital stabilizer on top of the already good in-body stabilizer to smooth out hand shake. It also gains a DCI 4K video mode from the E-M1 II, with a theoretical maximum bitrate of ~237Mbps.

If high-speed video is more your thing, the E-M5 III tops out at a respectable 1080/120p.

Battery

Olympus has changed the type of battery the E-M5 III uses; it’s now the BLS-50 unit that we first saw in the PEN-F, as opposed to the BLN-1 from the E-M5 II. It’s more of a packaging and design consideration than anything else, as the new battery’s capacity isn’t much diminished (1210mAh compared to 1220mAh and 8.7Wh rather than 9.3Wh), and CIPA-rated battery life is likewise unchanged at 310 shots. As with all CIPA ratings, you can expect to get more shots than that in real-world use, but this rating looks a bit low against the competition.

UHS-II card slot

Another welcome update is the inclusion of a UHS-II card slot, which should speed up write times with compatible cards. This isn’t especially common in this class of camera, and will come in handy if you’re using the 30 fps Pro Capture burst mode.

Weather-sealing

Although the older E-M5 II was also described as weather-sealed, the Mark III now gains the same official IPX1 rating that Olympus’ sports-shooting E-M1X earns. This technically means that it can withstand dripping water for 10 minutes, which may not sound super impressive, but the fact that these interchangeable lens cameras have ratings at all sets them apart from most of the market. Of course, we’re not advocating you go and run your brand-new E-M5 III under the tap, but it should stand up well to shooting in inclement weather or environments.

And that’s about it! We’ve long been fans of the E-M5 lineup, and we’re happy to see that Olympus has crammed plenty of updates and refinements into the Mark III, all while keeping the size similar and even losing a few grams of weight. After all, so many cameras are so capable these days, we generally expect to see refinements of already good cameras rather than revolutionary changes.

But what do you make of Olympus’ latest camera? Do you think it’s worth the wait? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus OM-D E-M5 Mark III sample gallery

17 Oct

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We recently joined Olympus in Moab, Utah for some preliminary shooting with the OM-D E-M5 III. That’s why you’ll find plenty of classic American Southwest scenery among our first sample images taken with the newest Digital OM camera – see for yourself. We threw in a few shots from the Olympia, Washington area for good measure.

See our Olympus OM-D E-M5 Mark III sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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In the desert with the Olympus OM-D E-M5 III

17 Oct

Out-of-camera JPEG. Shot this using Olympus’s Live Composite function, a handy feature that’s long been included in OM-D cameras. LiveComp is enabled from within the ‘Bulb’ setting on the mode dial.

ISO 800 | 8 sec | F2 | Olympus 12mm F2 | 30 minute composite (cut short by clouds moving in)

The E-M5 III is essentially an E-M1 II in a smaller, 28% lighter package, with the same stills, video and AF capabilities as its bigger sibling. Combined with a modest kit of Olympus’s M.Zuiko glass, the Mark III has the potential to be an excellent travel and adventure camera.

Olympus brought a small group of journalists out to Moab, Utah last week to get some initial hands-on field time with the E-M5 III (full disclosure: Lodging, transportation and meals were provided by Olympus). I’ve long been a fan of the E-M1 II as a travel camera, especially when kitted with the versatile 12-100mm F4 IS Pro for daylight shooting, and a small, fast prime like the 12mm F2 for low light shooting. And I’ve never stepped foot in the American Southwest, but the prospect of testing an “E-M1 II lite” in this new environment, definitely appealed to me.

The most significant differences between the E-M1 II and E-M5 III is the former offers a better grip and faster shooting, while the E-M5 III offers a lesser footprint and a lesser price tag. Given the amount of hiking we were planning on doing in and around Arches National Park, I was just fine trading some burst speed and grip real estate for less weight.

Our first day was spent touring all the sights in Arches National Park, including ‘Park Avenue,’ ‘Balance Rock,’ ‘Garden of Eden,’ ‘North Window,’ and ‘Turret Arch.’ You can see many photos of all of these spots in our sample gallery at the bottom of the page.

At each of these extraordinary locations I took note of the countless people snapping photos; many with smartphones, but plenty more with full-size cameras. How fortunate I felt to have the equivalent of 14mm to 200mm between two lenses (7-14mm F2.8 Pro and 12-100mm F4) without breaking a sweat. I especially felt bad for those carrying around bulky DSLRs with telephoto lenses attached: what a drag that must be in the heat of the desert.

Lens quality, versatility and compact size are huge selling points for Olympus

Lens quality, versatility and compact size are huge selling points for Olympus, as is image stabilization. Other systems have them beat when it comes to resolution, but it’s hard to compete with the completeness and compactness of Olympus’ Micro Four Thirds system, (especially considering their telephoto lenses). I think this undeterred dedication to a truly light-weight system helps set Olympus apart from just about everyone else. And I think it makes a lot of sense for them to capitalize on this compactness by releasing a slimmed down E-M5.

Out-of-camera JPEG. Olympus’ black and white JPEG profile is a personal favorite.

ISO 200 | 1/320 sec | F5.6 | Olympus 12-100mm F4 IS Pro @ 17mm

In addition to my desire to keep the gear load light while traveling, I’m also the kind of person that likes to share lots of photos along the way. Sure, I’ll likely make some Raw conversions when I get home, but I definitely value cameras that make it painless to send files to my smartphone. And even though I signed an NDA agreement barring me from sharing anything during the trip, Olympus’s Image Share app is pretty simple to pair and use.

I also appreciate cameras with appealing JPEG profile settings. With the E-M5 III, I found the default “Natural” Picture Mode a tad flat and “Vivid” a tad too punchy – in both cases I was able to adjust contrast, saturation and sharpening to my liking via the ‘Super Control Panel’. Olympus’s ‘Monochrome’ mode in particular suits my tastes nicely, especially when the ‘Gradation’ is set to “High Key” for an even more dramatic effect.

After a full day in the park and a hearty dinner, we wrapped up our evening capturing star trails at Balance Rock. Sadly, incoming clouds cut short our time to test out the camera’s Live Composite feature: a fun and easy way to capture star trails. The image at the top of the page is an 8 sec exposure, with a 30 minute composite of the sky.

Out-of-camera JPEG. Shot using the high-res mode on a tripod.

ISO 200 | 1/320 sec | F5.6 | Olympus 12-100mm F4 IS Pro @ 18mm

Our next day began with a sunrise shoot from Dead Horse Point, looking out toward Canyonlands National Park. My bones are still cold just looking at the image above. The location was perched high up over the dessert floor with winds lashing us. With my E-M5 III on a Manfrotto BeFree tripod, I feared a gust would take the entire light-weight rig over the edge. I didn’t want to have to explain that to the Olympus representatives, so I held on to the camera strap at all times, just to be safe.

Unlike some of my fellow journalists who likely needed finger amputations after this shoot, I brought a pair of gloves. Unfortunately the camera’s small control points made it especially tough to operate. Seeing as I was shooting a stationary scene on a tripod, I opted to use the camera’s ‘High Res’ shot mode: it’s easy enough to access via a click of the drive button and a turn of the control wheel. Those actions I was able to complete with a glove on, but when I realized setting a shutter delay for this mode would require a deep dive into the menus, I cried just a little.

Ultimately, I think cold hands were worth getting the shot. And I look forward to pulling the above Raw file into Adobe Camera Raw and punching up the saturation a bit when support becomes available.

Out-of-camera JPEG. This was not my first rodeo.

ISO 250 | 1/2500 sec | F3.2 | Olympus 40-150mm F2.8 Pro @ 150mm

After our morning shoot, a hot breakfast and a very long hot shower, we headed up the Colorado River toward Red Cliff Lodge Ranch, the site of many a famous John Wayne movie. Here we got to put the camera’s autofocus, burst speed and dust-sealing to the test.

The fastest burst with continuous AF on the E-M5 III is 10 fps using the e-shutter (6 fps with the mechanical), compared to an 18 fps max burst on the EM1 II (also e-shutter). Despite being spoiled by the faster burst speeds of its sibling, 10 fps proved plenty fast enough for capturing cowboys wrangling cattle. And the camera’s buffer depth and clearing speed also proved ample for my needs, even when shooting Raw+JPEG.

The E-M5 III’s 121-point PDAF system is a huge improvement over the older CDAF system

The E-M5 II shares the same 121-point PDAF system as the flagship E-M1 II, a huge improvement over the previous model’s 81-point CDAF system. Most of my action shots were made using the camera’s ‘C-AF+Tracking’ setting which seemed to do a good job sticking to my chosen subject. A quick look through the bursts suggests a solid, though not class-leading, hit rate when using tracking in good light. Considering the random movement of my subject, heavy shadow and dust-filled environment, I was pretty pleased with the number of keepers.

Raw file converted in-camera with adjustments made to the exposure.

ISO 125 | 1/2000 sec | F5.6 | Olympus 40-150mm F2.8 Pro @ 40mm

I did struggle to follow the action occasionally – even with the EVF brightness maxed out to +2 and the camera pressed firmly to my glasses, the bright sun seemed to leak in. The EVF refresh rate is also locked at 60 fps, compared to 120 fps on the E-M1 II and the difference between the two is noticeable when trying to follow fast action. Still, despite my struggles seeing through the finder, I managed as best I could to get the shots. That is, until the dust clouds started getting kicked up, at which point I relied more on the LCD to frame.

By the end of the shoot my camera was absolutely covered in dust. I’d managed to keep the lens, EVF and LCD clean by blasting them with a rocket air duster every minute or so. I’d also been careful when changing lenses and followed sound advise to flip the power switch every so often to engage the supersonice sensor cleaning. Still, looking down at my black boots, now a shade of newspaper grey, I was worried some dust had still made its way to my sensor. But it didn’t.

Of course sensor cleanliness isn’t everything, dust and dirt can cause damage anywhere they get into a lens or body. Fortunately Olympus weather and dust sealing tends to be second-to-none, and the E-M5 III’s IPX1 rating is the same as its biggest of siblings, the E-M1X, making it one of the few cameras to be tested to industry standard levels.

Out-of-camera JPEG. I preferred manually using an AF point over relying on Olympus’ Face+Eye detect.

ISO 200 | 1/800 sec | F4 | Olympus 12-100mm F4 IS Pro @ 44mm

With the rodeo winding down and our cowboys at rest, I decided to flip on ‘face+eye detect’ and shoot some portraits. But I quickly realized Olympus’ version of this handy feature, which they were the first brand to introduce, seemed less precise than what I’ve become accustomed to on other cameras. But of course, more testing is needed to confirm this. Still, I ultimately decided to rely on a single point instead.

The camera’s touchscreen proved a tad unresponsive as an AF touchpad

There’s no AF joystick on the E-M5 III so you either need to rely on the four-way controller to move your AF point/area or enable touchpad AF from within the menus. I prefer the latter method of dragging my finger on the screen with my eye to the finder to set my point placement. Unfortunately, the camera’s touchscreen proved a tad unresponsive, not always activating when I touched it.

We soon departed the ranch for a few more scenic shoots before calling it a day. I used our time in the bus to juice up the E-M5 III’s battery (via USB and a power pack), which was still near half charged, even after a full day of shots.

Out-of-camera JPEG.

ISO 80 | 1/8000 sec | F1.2 | Olympus 25mm F1.2 Pro

As I reflected on the last 48 hours of both scenic and high-speed shoots, I pondered the question, ‘Would I recommend this to a friend for this sort of travel adventure?’ The answer is most certainly yes. The E-M5 III offers good image quality (class-leading among its direct peers), reliable autofocus, high quality/stabilized 4K video capture, excellent protection from the elements and a huge system of high quality, compact zoom lenses. It’s also got a lot of useful creative features, like LiveBulb/LiveTime and high-res mode.

Ultimately, my time spent in and around Moab, Utah left me with a strong desire to return to the area as soon as possible. I dream of driving my tiny Toyota Corolla through the entrance of Arches, friends in every seat, all of us taken aback by the enormousness of everything we see. Everything, that is, except the camera I choose to bring – it will very possibly be an Olympus.

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Olympus OM-D E-M5 III initial review

17 Oct

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The Olympus OM-D E-M5 Mark III is a 20MP Micro Four Thirds camera aimed at enthusiast photographers. It shares the same sensor, AF system and 4K-video capture as the flagship E-M1 II and E-M1 X, in a considerably smaller, lighter package.

It’s the first in the E-M5 line to offer on-sensor phase detect autofocus, which includes both face and eye detection modes. The updated AF system is complimented by a 10 fps max burst rate in AF-C. The camera also gets a new image stabilization system, an updated EVF and some small ergonomic improvements.

Key takeaways

  • 20MP Four Thirds sensor
  • 121-point autofocus system
  • 50MP high-res shot mode
  • 10 fps burst shooting with AF-C
  • Cinema (DCI) and UHD 4K video
  • Up 6.5EV of image stabilization (CIPA-rating) with supported lenses
  • 2.36M-dot OLED viewfinder with 60 fps refresh rate
  • Extensive direct controls and articulating touchscreen
  • Weather-sealed body
  • In-camera USB charging
  • 1/8000 sec mechanical shutter speed

The E-M5 III will be available at the end of November for a body-only price of $ 1,199.99, CAN $ 1,499.99 in either black or silver. It will also be available kitted with the weather-sealed Olympus 14-150mm F4-5.6 II for $ 1,799.99, CAN $ 2,249.99. At launch there will be a $ 300 discount off the price of that kit.

What’s new and how it compares

The E-M5 III is Olympus’ smallest, lightest 20MP camera. Here’s what else is new and how it stacks up against its peers.

Read more

Body and controls

There rear of the E-M5 III is larger unchanged, but some significant changes have been made to both the camera’s top plate and the EVF.

Read more

Shooting experience

Photo editor Dan Bracaglia spent 48 hours shooting in the deserts of Southern, Utah, E-M5 III in hand.

Read more

Sample gallery

Curious what kind of files the E-M5 III produces? Have a look at our vast sample gallery.

Read more

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Rumor: The Olympus E-M5 III to be launched October 17th, use same 20MP sensor as E-M1 II

24 Sep

According to the most recent report from 4/3 Rumors, Olympus’ next camera, presumed to be the E-M5 III, will be announced on October 17, 2019, and feature the same 20-megapixel sensor that’s inside the E-M1 II.

In its report, 4/3 Rumors breaks down the summary of the rumored information it’s received thus far saying with ’99 percent’ certainty that the announcement will be made on October 17, 2019, and with ’80 percent’ certainty, the new camera will feature the same 20MP 121 cross-type phase-detection sensor as the E-M1 II.

The report also states with ’90 percent’ certainty the new camera will come with a new processor that should, in theory, result in better image quality despite using the same sensor. Other details in the report say with ’60 percent’ certainty that the camera will have a ‘lighter, more plasticky but still weather-sealed body’ and use the same BLS-50 battery also used by the Olympus PEN and E-M10 cameras.

If this information does end up holding true, the E-M5 III is shaping up to be an incremental improvement rather than a revolutionary advancement.

Update (September 23, 2019): Corrected to reflect the 20MP sensor the rumored E-M5 III will be based on is in fact the E-M1 II, not the E-M5 II.

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Confirmed: Leica, Nikon and Olympus won’t be attending Photokina 2020

19 Sep

In a press release on its website, Photokina has confirmed that Nikon, Leica and Olympus have all opted out of attention the 2020 trade show.

The press release, titled ‘Photokina 2020: An Industry in Transformation, a Decisive Chance for the Future,‘ buries the lede by first elaborating on the current state of the camera market and following it up with the significance of a trade show such as Photokina. The press release starts out saying:

‘The imaging industry is currently undergoing massive changes, which also have an impact on Photokina as the industry’s leading trade fair – and this in a dimension never seen before. While on the one hand the classic camera market reports strongly declining sales and turnover figures, the enjoyment of photography continues to grow – with a positive effect on the demand for pictures.’

Gerald Böse, President and Chief Executive Officer of Koelnmesse GmbH, goes on to say that Photokina ‘represents a unique opportunity’ and notes that ‘[Photokina is] relying on the major players of the industry to make the greatest possible use of this opportunity.’

It’s not until two paragraphs later the press release confirms three ‘major players’ won’t be attending the trade show after first expressing gratitude to multiple other manufacturers for attending:

‘”We look forward to strong demand and applications from both the new and the classic segments of companies like Canon, CEWE, GoPro, Sony, Panasonic, Kodak Alaris, Sigma, Tamron, Carl Zeiss, Hasselblad, Hahnemühle, Arri, Rode Mikrophones, DJI and Insta360,” says Christoph Werner, Vice President of Koelnmesse. These are contrasted by cancellations, including from Leica, Nikon and Olympus.’

The press release goes on to say these cancellations change nothing for Photokina 2020 and ensures that the show will go on, but losing three major manufacturers in a single year is never a good sign. We saw this happen with PMA years ago and once a few left the expo, the rest quickly followed.

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Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures

16 Sep

The post Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures appeared first on Digital Photography School. It was authored by Mark C Hughes.

Olympus has a number of unusual features for longer exposure photography. Aside from the classic bulb style photography, there are two other specific long exposure features available with Olympus cameras: Live Time and Live Composite. These two functions, although related, treat longer exposures quite differently and can produce quite interesting results. Both are really fascinating tools for photographers looking to experiment. Both use computational features of your camera to allow you to get an image in a different way. Although we will briefly discuss Live Time, this article primarily focuses on the Olympus Live Composite feature.

olympus-live-composite-feature

The Live Composite feature on Olympus Cameras lets you mix light sources for long exposure

Live Time

Live Time is like the bulb function on old film cameras that held the shutter open as long as the bulb was depressed but with a twist. With modern cameras, you open the shutter by pressing once and then close it by pressing it a second time. As with any bulb function, you end up holding the shutter open for as long as you want but without a set time on the camera.

In the film days, you would just guess how long you wanted (or use a light meter and a stopwatch). With most digital cameras, there is a function to allow you to hold the shutter open for an extended time. However, for many makes of cameras, you won’t see the image until the camera has closed the shutter, taken a noise reduction image, and then processed the image.

Live Time in Olympus cameras is a little different. It allows you to see the image on your display developing during the process while the shutter remains open. As the exposure lengthens, you see the image form as more and more light gets added to the entire image. The image gets brighter on the back panel, and it is really cool to see the image created live.

This process allows you to decide when you have held the shutter open long enough. Like the old bulb settings, you decide how long the image progresses. You press to start the exposure and press to stop.

Image: Long Exposure images simply mean that light sources get brighter

Long Exposure images simply mean that light sources get brighter

Fundamentally, Live Time is just a manually extended exposure time that allows you to watch the image develop as you take it. It is still a pretty cool feature.

Problems with long exposure photography

The trouble with Live Time (and any long exposure image with any camera for that matter), is that bright things get brighter faster than the dark areas.

This means that dim, infrequent events in lower light environments with some point sources of light will be overwhelmed by the point sources. When you have enough light to expose the dark areas properly, this usually means that the lit areas have far too much accumulated light. Everything in the frame gets treated the same.

Image: A still Image of a fire provides lots of detail and freezes the action of the flames.

A still Image of a fire provides lots of detail and freezes the action of the flames.

olympus-live-composite-feature

Long Exposures tend to smear the light as the light sources persist.

Enter Live Composite

Live Composite is a particularly unique feature present in Olympus cameras that is not currently offered by other camera makers at this time.

Live Composite is similar to Live Time, in that you are taking a longer exposure image, but Live Composite is just light additive for new sources of light, not existing sources. What this means is that Live Composite takes a base image and then only adds new light to the image that was not present in the original base image. This means that light sources seen in the original reference image do not get brighter. Only new lighting or new light sources that move in the frame will appear in the final image.

olympus-live-composite-feature

Live Composite of a campfire shows that the entire image is not getting brighter

The mechanics of Live Composite

Using Live Composite is a two-step process; first, it requires you to take a base or reference image exposure. This image forms the base layer of the composite image. Then you take subsequent additional images at intervals with only new light in the field of view added.

This allows you to take a static image of a colorful background under low light conditions and add only new light sources.

Just like Live Time, you get to watch the image develop right before your eyes.

olympus-live-composite-feature

After the base image is taken, only new light sources (such as a lightning bolt) show up

How to use It

Turning on Live Composite on your Olympus camera is not the most prominent process. It is a bit hidden. Live Composite is a type of manual mode setting, so that is where you find it on the camera.

However, before you use Live Composite, you need to decide a few key parameters for your base composite image – specifically initial shutter duration, ISO and aperture.

You set the shutter time duration in the menu (out of the function itself) before setting the camera to shoot. However, you set the ISO and aperture as you go.

Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures

Turning on Live Composite varies a little between cameras (the EM1X does it slightly differently), but for most Olympus cameras, you simply set the mode selector dial to Manual (M) and adjust the time to beyond the 60-second shutter duration. At that point, you get a Bulb, LiveTime, and then LiveComp setting. LiveComp is the one you want for Live Composite. On the EM1X, you set the mode selector dial to B (bulb) and then turn to LiveComp. Everything else is the same.

At this point in time, you set your ISO and Aperture. This, combined with the shutter time duration you set in the menu system for cycling the images, will be used to set your base composite image. For instance, if you set the shutter timing to 4 seconds, plan on using an aperture of f/4 and ISO of 800. You will use those values for the base reference composite image.

To activate Live Composite, set up your composition, focus your lens, and then press the shutter for the reference image. The composite is now ready to start.

Next, when you press your shutter button again, the image creating process begins! The camera will open the shutter and add to the image as each time period compares to the base image. Any new light gets added to the composite at the end of each cycle. The image changes and grows on your display as Live Composite progresses.

It is very cool to watch as your image develops.

Does Live Composite mean you can take images that you couldn’t before?

Image: Lightning storms work incredibly well with Live Composite, especially if there is a lot of ne...

Lightning storms work incredibly well with Live Composite, especially if there is a lot of nearby light sources (such as streetlights)

Yes and no. You could take the images separately and combine them as a composite, but as a single image, you would not have been able to do it. Also, there are certain types of images that are way easier to take with the Live Composite function than would be possible to achieve in a single image.

Live Composite also forces you to change your approach to certain images. As part of that change, it may actually take longer to take some images (because you need to create a base/reference every time), but you get the benefit of seeing if it is doing what you want.

What kind of image works well with Live Composite?

Several specific types of images can get the full benefit of Live Composite. These include star trails, lightning flashes, fireworks, night photography with bright lights present, and light painting.

You can take all of these in other ways, but using live composite allows you to see if the image is turning out how you want.

Most of these images all require manual focus and manual settings for your exposures. All require some trial and error and pretty much all benefit from the use of a tripod. In theory, you might be able to take these images without one, but in reality, the requirement to be steady really limits those cases.

Star Trails

In astrophotography, taking an image of stars can be particularly daunting. This is because the earth is rotating and the stars are relatively dim. What this means is that you need a fast enough shutter speed to freeze the motion of the star but also need to leave the shutter open long enough for the start to appear on your image. If you leave the shutter open too long, you will see a streak or smear instead of a star. If you leave the shutter open even longer, the stars leave even longer trails that are circular. In the northern hemisphere, these star trails appear to rotate around the North Star.

Image: Star trails occur when you take astrophotography shots and leave the shutter open for an exte...

Star trails occur when you take astrophotography shots and leave the shutter open for an extended period of time. The stars create a trail. This image was taken with the shutter open for 27 minutes

With conventional digital cameras (or film cameras for that matter), working at night can be a challenge. The shutter duration required to create star trails are long, and you can’t see what your image is like until you’ve completed the entire exposure duration. In addition, if you have made an error in focus or composition, you won’t see it until the entire process is complete. There are ways to combine star trails together in post-processing, but the Live Composite allows you to do it in a single exposure.

With Live Composite, you can see the image develop. Particularly with star trails, this allows you to quickly figure out if you want to have your image in a different setup or use a different point of interest so that the star trails work with your composition.

You also have the ability to have star trails show up when there is an illuminated object in the foreground.

Lightning

Another significant challenge for photography is capturing images of lightning, particularly in areas where there are light sources. As anyone who has attempted to take lightning images knows all too well, this is a difficult type of photography.

olympus-live-composite-feature

Lightning strike captured using the Olympus Live Composite Feature.

The main difficulties of capturing lightning images are fourfold. Lightning is difficult to schedule, so you have to wait to find a storm to photograph. Depending upon your position relative to the storm, you need to find a vantage point to capture images that are reasonably clear (you need to be able to see the lightning from a distance) and have a perspective that forms a reasonable composition. More common vantage points are across a field, across a valley or from highrise building.

Next, you need to hope the lightning is not blocked or shrouded by rain (a common companion to lightning). This will interfere with your sightlines. Lighting is often at leading and trailing edges of storms, but if you are at the wrong end, the lightning will simply light up the sky.

Finally, taking images at night always presents a problem for trying to achieve focus. Focusing in the dark means that you can’t see what you are focusing on and the light from the lightning hasn’t lit up your subject yet.

If you have the right conditions, you can take the base image and wait for the lightning strike and the image to develop. You just wait until lightning strikes in the field of view.

For a detailed guide on photographing lightning, see this Ultimate Guide to Photographing Lightning.

Fireworks

Fireworks is an interesting subject for live composite. It actually isn’t faster to take images, but I think it takes better images. Fireworks requires you to manually focus where you think the images are, set the time, aperture, and ISO for a darker setting than your camera will want, then wait.

Image: Fireworks also work well, although it is a two-step process for every image.

Fireworks also work well, although it is a two-step process for every image.

Without Live Composite, you simply open the shutter and wait. The image gets brighter, and the duration is based upon a little trial and error.

With Live Composite, you take the reference image and then wait. When the fireworks start, you hold the shutter and watch the screen. You press the shutter when you have the image you want.

Unfortunately, you need to take a new reference image each time, so you end up with additional steps. However, the results are at least as good (and often better) as simply guessing an exposure time.

Night photography with bright lights and light painting

olympus-live-composite-feature

Capturing car tail lights and headlights will appear but the street lights don’t get overly bright

Night photography featuring bright lights, such as carnivals or street performers using fire at night, can turn out really well with Live Composite. So can images where lights are moving, but you don’t want the background to get brighter.

You can also use Live Composite for light painting. This is particularly useful if you have someone helping you when you are taking a light painting image.

Light painting is a technique for taking an image under low light conditions with a long exposure and lighting up the object with controlled use of flashes or light sources. The neat thing about using Live Composite for light painting is that you can have light in the image when you are taking the image with the light painting because only new light gets added. It also means that dark objects won’t show up, and the bright surfaces behind them will remain illuminated.

Image: Live composite allows you to do light painting with light sources present in the image (not t...

Live composite allows you to do light painting with light sources present in the image (not the greatest light painting image!)

Conclusion

Live Composite is a unique feature in Olympus cameras that allow you to make composite images in-camera that previously would only be able to be created with two separate images and a bunch of post-processing. It is another useful tool for your photography kit.

olympus-live-composite-feature

The Olympus Live Composite feature is a unique tool to allow you to be creative with low light images.

Have you used Olympus Live Composite Feature before? What are your thoughts? Share with us in the comments!

 

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The post Useful Ways You Can Use the Olympus Live Composite Feature for Long Exposures appeared first on Digital Photography School. It was authored by Mark C Hughes.


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Sony sells entire 5% stake in Olympus but continues its business alliance

31 Aug

Sony has sold the rest of the shares it held in Olympus after declaring the alliance between the two companies has achieved what it set out to do. The sale of the 68,975,800 shares, which have been bought back by Olympus, raised 80 billion yen ($ 75m) on a value of 1165 yen per share. The holding had represented 5.03 percent of the total common shares in Olympus.

Sony has made a tidy profit on the sale as the shares were purchased in 2012-13 as part of an 11.5 percent stake in Olympus that cost only 50 billion yen ($ 47m at today’s rate). Part of that share-holding was sold in 2015 for 46.8 billion yen, making a total of nearly 127 billion yen ($ 120m) from a 50 billion yen purchase.

The original stake in Olympus was made directly after the company’s accounting scandal came to light and provided a much-needed injection of cash to keep the company secure at a time when its share price had dropped dramatically. The purchase was in the medical and camera businesses, and the two companies set-up Sony Olympus Medical Solutions together. Sony has said that despite the sale of the share the two companies will continue the business alliance and collaborative partnership.

For more information see the Sony website.

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Video: Action and sports photography with the Olympus OM-D E-M1X

21 Aug

In this video we’ve traveled to southern Spain to the town of Sevilla to meet photographer Fernando Marmolejo. We joined Fernando over the course of a few days, as he shot some of his favorite sports with the most advanced Micro Four Thirds camera on the market: the Olympus OM-D EM1X.

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