Latest sample galleries
Latest in-depth reviews
Topaz Labs' flagship app uses AI algorithms to make some complex image corrections really, really easy. But is there enough here to justify its rather steep price?
|Haruo Ogawa, President of the Imaging Business Group and Executive Managing Officer at Olympus Corporation.|
When we attended CP+ last month in Yokohama, Japan we sat down with senior executives from several major camera and lens manufacturers. Among them was Haruo Ogawa, President of the Imaging Business Group and Executive Managing Officer at Olympus Corporation. Among other things we spoke to Mr Ogawa about the current and future direction of Micro Four Thirds and the challenges of introducing 4K video.
It’s early days but opinions from press and professional photographers have been favorable.
For normal shooting no, we have not received any requests for resolution higher than 16MP. On the contrary, our customers are more than satisfied by the picture quality of the OM-D system. But we did receive requests from studio photographers who needed higher resolution. Because of the size of the sensor, we didn’t go in the direction of higher pixel count, so to meet the demands of those photographers we developed 40MP high-res shot mode using pixel shift.
We have received some initial feedback from these studio professionals and they’re telling us that image quality - especially at the corners - in 40MP high-res mode is better than full-frame DSLRs.
We are considering higher pixel counts in future models, but more importantly we need to make sure that image quality is maintained, in terms of noise levels and other parameters. We will gradually increase pixel count in the future, while maintaining picture quality. Pixel count is just one factor in image quality. Lens quality, the image processor performance and sensor performance are all very important.
|The Olympus OM-D E-M5 II is the successor to the original OM-D E-M5, and brings a host of additions, including an innovative 40MP multi-shot mode and faster continuous shooting and autofocus.|
You have to use a tripod with this mode, so the main users will be studio photographers. But nature and scenery, for still scenes, this mode is good [for that] too.
This is interesting technology - same as what is used for HDR - but we’re not currently studying it for the high-res shot mode.
Yes this is technically possible in the future. It depends on the performance of the camera’s processing engine, so as the engine performance improves, then yes - it should be possible.
I don’t know - I haven’t tried it!
|High-res shot mode works by shifting the OM-D E-M5 II's sensor multiple times in minute increments to create a final 40MP image. Static scene elements are rendered with excellent detail but any movement at all (like the water in the foreground in this image) results in unpleasant artifacts.|
We’d like to cater to a broad spectrum of users, at both the low and high-end. For beginners we have the PEN series and the OM-D E-M10 and for high-end users we have the E-M5 II and E-M1.
Obviously the lens attachment rate is higher for the high-end cameras, but entry-level users are beginning to realize the benefits of changing lenses thanks to our affordable accessories like our lens converter attachments and our body-cap lens. Our 45mm F1.8 is very popular with our entry-level users because of its high quality and affordable price.
Our priority first of all is the pro and premium series of lenses for enthusiast and professional photographers. We also want to add some more reasonably-priced lenses for entry-level users, similar to the 45mm F1.8 - we’re looking into this now.
We don’t benchmark against any particular specific model. We know the benefits of full-frame DSLRs but one area where we think that Micro Four Thirds has an advantage is lens performance, because full-frame lenses have to cover a larger area. We can create higher image quality. So we put the emphasis on portability and image quality. That’s why we don’t benchmark against any specific models.
We are very keen on lens quality. If we were to develop the same quality lenses for full-frame cameras, the size would be four times bigger. But if you compare our lenses against [lenses designed for full-frame mirrorless cameras] you’ll see that there isn’t a 4X difference in size. That means that there’s some compromise in lens performance [in those lenses].
No, we’d probably still choose to create the Micro Four Thirds system. We have 80 years of camera making history. We started our business in 1936 and our consistent policy since then has been to make our cameras compact and lightweight. For example [with M43] a 600mm equivalent lens can be attached to a camera and used hand-held. This would not be possible with a full-frame model.
|Olympus's forthcoming 300mm F4 lens offers a focal length equivalent to 600mm. Although not as capable of the same things as a 600mm F4 would be for full-frame, it's highly portable by comparison.|
Imagine shooting wildlife on safari with a full-frame 600mm, where you might not have time to set up a tripod, etc. We also hear from photojournalists in conflict zones who need a very compact, light system. Even for portrait shooting, models are more nervous with big cameras.
We don’t dismiss full-frame models, of course but there are [types of photography for which] they’re not appropriate. So if I could go back ten years I wouldn’t change anything.
I don’t have exact numbers but after launching the OM-D the number has increased, especially in the documentary field. Documentary photographers tend to use their cameras in tough environments.
Before Micro Four Thirds we had Four Thirds. Lenses designed for Four Thirds require phase-detection autofocus [in the camera]. So in order for these lenses to still be utilized [in M43 cameras], we will continue to develop phase-detection AF. For this reason, we’d like to improve AF speed and precision. E-M1 firmware version 3.0 increases continuous shooting with autofocus tracking to 9 frames per second. This is one result of our improvements to phase-detection AF.
No. Because there are some areas in which contrast-detection has advantages. One example is autofocus towards the edges of the image area. Another is our face and eye-detection focus feature.
Yes. Phase-detection AF cannot incorporate features like face and eye-detection, so I believe that the best solution is contrast-detection plus phase-detection. [Editor's note: while traditional phase-detection AF modules cannot by themselves detect faces and eyes, secondary image sensors, or the main imaging sensor itself in mirrorless cameras, can 'tell' the camera which phase-detection points to use for focus. Hence, technically, contrast-detection AF is not needed for face or eye-detection]
We’re in the test stage now, in terms of sales. So we’ll see how Japanese customers react, and that will help us decide whether or not to expand sales into other markets.
|The new 'Air' consists of a 16MP M43 sensor and lens mount inside a module that can be attached to various things, and 'hacked' by developers. Olympus has introduced the Air to Japan but it remains to be seen whether it will become available anywhere else in the world.|
We allow access to some functions, but we have not yet decided whether we will allow access to all functions. The first thing we want to know is how this concept will be accepted by developers. Depending on how they react, we’ll decide on how we want to improve.
There are some emerging trends in the camera market - some manufacturers are making full-frame DSLRs for example and some are introducing 4K movie recording, but our approach is to provide cameras which are compact and lightweight. Explaining why our direction is important, and to whom is a big challenge.
4K movie places a large burden on the image processor, so there are tradeoffs. This time we prioritized image stabilization, but in the future, when processor performance increases we can provide both.
34 years. I started in R&D, and my first job was working on Zuiko lenses. After moving into imaging my first job was working on the Stylus series. On DSLRs I worked on the E-410, E-510 and E-3.
I am proud of all of it, but mostly the development of the first PEN at a time when there were no mirrorless cameras in the market. It was a really original idea. The style, and the design of the E-P1. Until then, the DSLR market consisted of around 90% male customers, mostly over the age of 50, but with the introduction of the E-P1 we attracted young, and female customers to the interchangeable lens camera market.
Two phrases cropped up a lot during our interview with Mr. Ogawa - 'full frame' and 'image processor'. It's interesting that Olympus seems more preoccupied with its full-frame competition than APS-C but not altogether surprising - that's where the biggest gap exists in terms of critical image quality. The OM-D E-M5 and E-M1 punch above their weight when compared against their APS-C peers but neither can really challenge full-frame mirrorless and DSLR cameras in terms of resolution, depth-of-field control, and low light performance. High-res shot mode is a nice feature, and a magic 'bonus' 40MP output mode will appeal to a lot of people. The problem is that because it is limited to entirely static subjects and tripod-mounted shooting, it will only be genuinely useful (for now) to a very narrow constituency of photographers.
Where Olympus can definitely compete is in terms of lenses, and sheer weight of camera functions. I'm not surprised that the OM-D series has proven popular among documentary photographers, and Mr. Ogawa is right that there are some situations where larger full-frame system cameras and lenses are not appropriate. The quality of Olympus's recent 'Pro' lenses and primes is excellent, too. You can nitpick about aperture equivalence all you want, but the quality and versatility of a lens like the 40-150mm F2.8 Pro is hard to argue with. The OM-D E-M5 and E-M1 are incredibly feature-rich, too - almost to a fault. Deep customization and a huge number of physical control points means that both cameras can be set up to cater to even the most esoteric of ergonomic preferences.
We were encouraged to be told that Olympus is 'considering higher pixel counts' in future OM-D models. I don't completely believe Mr Ogawa when he told us that Olympus has received 'no requests' for resolution higher than 16MP but it makes sense that the company is being cautious. To reap the full benefit of more pixels on a comparatively small sensor, though, lenses will have to be up to the challenge, and we have no doubt they will after seeing the performance of some of the latest and greatest offerings.
On this topic, Mr. Ogawa's comments that micro four thirds lenses have an advantage in terms of performance was particularly interesting. On the one hand, creating a smaller image circle may allow them to focus much of the (size, weight, and complexity of the) optics on performance, while keeping the lens relatively small. However, the micro four thirds format is challenged by the requirement of higher resolving power lenses simply to maintain the same effective total image resolution as a larger sensor counterpart, for any given field-of-view that is. Furthermore, micro four thirds lenses become diffraction limited earlier when comparing equivalent resolution cameras, as diffraction is correlated with equivalent, not absolute, aperture. What this means is that rather than any one system having a clear benefit or disadvantage, lenses for different formats face different sets of challenges.
Which brings us to the second much-used phrase in this interview - 'image processor'. The fact is that headline OM-D features like 10fps maximum shooting, complex multi-axis image stabilization and multi-shot high res etc., require a lot of processing power. Overtaxed processors get hot (a real problem in very small cameras) and adding more powerful ones costs money. It's clear that the processing challenge in general is one reason why Olympus has yet to add a 4K video mode to its OM-D lineup, too.
We asked Mr. Ogawa about the biggest challenges facing Olympus as a camera manufacturer and his answer was revealing. He didn't point to any specific technical hurdles, or even to broader market conditions, but to communication - the challenge of educating consumers about the benefits of M43 compared, specifically, to full-frame.
May 8, 2017
Dec 7, 2016
Nov 21, 2016
Feb 28, 2018
The OM System OM-1 promises X-type PDAF and unprecedented burst speeds. Is it enough to shoot a professional rugby match? At night? As Richard Butler discovered, the OM-1 may be a rookie, but it has a good range of skills and can mix it up with the big boys.
Olympus has announced a 2X teleconverter designed to be used with its 40-150 F2.8 and 300mm F4 Pro lenses, as well as the 150-400mm F4.5 TC1.25x IS Pro lens currently under development. This weather-sealed teleconverter will be available is available now for $429.
Olympus today also announced a 2X teleconverter, which is compatible with its 300mm F4 and 40-150mm F2.8 lenses, as well as the 150-400mm which is under development. The company has also released an updated lens roadmap showing what's to come.
At the end of last year we asked you to vote for the best cameras and lenses of 2015. Across two rounds of voting in December and January DPReview readers did just that, selecting the top overall photography products of 2015. It was no easy feat, as 2015 brought huge advancements in stills and video technology, but with thousands of votes tallied it's time to declare a winner. See how the votes stacked up. Read more
Late last year we asked you to vote on the outstanding products of 2015. We created four polls, covering lenses and cameras, including more than 50 products in total. With thousands of votes cast, and plenty of 'discussion' in the comments, we're ready to announce the winners! But the fun isn't over yet - now is your chance to vote on the winners and runners-up from each of the four categories, to determine the readers' choice award for best overall product of 2015 - click through to vote
Topaz Labs' flagship app uses AI algorithms to make some complex image corrections really, really easy. But is there enough here to justify its rather steep price?
Above $2500 cameras tend to become increasingly specialized, making it difficult to select a 'best' option. We case our eye over the options costing more than $2500 but less than $4000, to find the best all-rounder.
There are a lot of photo/video cameras that have found a role as B-cameras on professional film productions or even A-cameras for amateur and independent productions. We've combed through the options and selected our two favorite cameras in this class.
What’s the best camera for around $2000? These capable cameras should be solid and well-built, have both the speed and focus to capture fast action and offer professional-level image quality. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing around $2000 and recommended the best.
Family moments are precious and sometimes you want to capture that time spent with loved ones or friends in better quality than your phone can manage. We've selected a group of cameras that are easy to keep with you, and that can adapt to take photos wherever and whenever something memorable happens.
What's the best camera for shooting sports and action? Fast continuous shooting, reliable autofocus and great battery life are just three of the most important factors. In this buying guide we've rounded-up several great cameras for shooting sports and action, and recommended the best.
|All the way up there ..beautiful view by Vishnu photoplorer|
from Tout Là Haut
|Bald Eagle and Handler-0432 by vbuhay|
from People Who Look Like Their Pets
|w756 by River Photography|
|About to leave for Mexico City by Sv1|
from Civil Airliner Parked at an Airport, Surrounded by Baggage Trolleys and Other Equipment
|Wild American Flamingos by Fotorequest|
from Flamingos Unlimited
While peak Milky Way season is on hiatus, there are other night sky wonders to focus on. We look at the Orion constellation and Northern Lights, which are prevalent during the winter months.
We've gone hands-on with Nikon's new 17-28mm F2.8 lens for its line of Z-mount cameras. Check out the sample gallery to see what kind of image quality it has to offer on a Nikon Z7 II.
The winning and finalist images from the annual Travel Photographer of the Year awards have been announced, showcasing incredible scenes from around the world. Check out the gallery to see which photographs took the top spots.
The rumor mill suggests the announcement will be a 50mm F1.4 DG DN lens for full-frame mirrorless camera systems.
The a7R V is the fifth iteration of Sony's high-end, high-res full-frame mirrorless camera. The new 60MP Mark IV, gains advanced AF, focus stacking and a new rear screen arrangement. We think it excels at stills.
Using affordable Sony NP-F batteries and the Power Junkie V2 accessory, you can conveniently power your camera and accessories, whether they're made by Sony or not.
According to Japanese financial publication Nikkei, Sony has moved nearly all of its camera production out of China and into Thailand, citing geopolitical tensions and supply chain diversification.
Got a new camera? Get started with your Canon EOS R7 by changing these critical settings.
A pro chimes in with his long-term impressions of DJI's Mavic 3. While there were ups and downs, filmmaker José Fransisco Salgado found that in his use of the drone, firmware updates have made it better with every passing month.
Landscape photography has a very different set of requirements from other types of photography. We pick the best options at three different price ranges.
AI is here to stay, so we must prepare ourselves for its many consequences. We can use AI to make our lives easier, but it's also possible to use AI technology for more nefarious purposes, such as making stealing photos a simple one-click endeavor.
This DIY project uses an Adafruit board and $40 worth of other components to create a light meter and metadata capture device for any film photography camera.
Scientists at the Green Bank Observatory in West Virginia have used a transmitter with 'less power than a microwave' to produce the highest resolution images of the moon ever captured from Earth.
The tiny cameras, which weigh just 1.4g, fit inside the padding of a driver's helmet, offering viewers at home an eye-level perspective as F1 cars race through the corners of the world's most exciting race tracks. In 2023, all drivers will be required to wear the cameras.
The announcement is believed to be the M.Zuiko Digital ED 90mm F3.5 Macro IS Pro lens, which was confirmed on the OM System roadmap last year.
The new ultrafast prime for Nikon Z-mount cameras is a re-worked version of Cosina's existing Voigtländer 50mm F1 Aspherical lens for Leica M-mount cameras.
There are plenty of hybrid cameras on the market, but often a user needs to choose between photo- or video-centric models in terms of features. Jason Hendardy explains why he would want to see shutter angle and 32-bit float audio as added features in cameras that highlight both photo and video functionalities.
SkyFi's new Earth Observation service is now fully operational, allowing users to order custom high-resolution satellite imagery of any location on Earth using a network of more than 80 satellites.
The firmware update adds eye-detection AF to video capture and improves autofocus performance in other modes.
In some parts of the world, winter brings picturesque icy and snowy scenes. However, your drone's performance will be compromised in cold weather. Here are some tips for performing safe flights during the chilliest time of the year.
The winners of the Ocean Art Photo Competition 2022 have been announced, showcasing incredible sea-neries (see what we did there?) from around the globe.
Venus Optics has announced a quartet of new anamorphic cine lenses for Super35 cameras, the Proteus 2x series. The 2x anamorphic lenses promise ease of use, accessibility and high-end performance for enthusiast and professional video applications.
We've shot the new Fujinon XF 56mm F1.2R WR lens against the original 56mm F1.2R, to check whether we should switch the lens we use for our studio test scene or maintain consistency.
Nature photographer Erez Marom continues his series about landscape composition by discussing the multifaceted role played by the sky in a landscape image.
Check out some of our full resolution Canon EOS R6 Mark II photos, captured over the holidays and in the mountains.
After weeks with a production Canon EOS R6 Mark II, Chris and Jordan get into more detail than they could in their initial review.
The NONS SL660 is an Instax Square instant camera with an interchangeable lens design. It's made of CNC-milled aluminum alloy, has an SLR-style viewfinder, and retails for a $600. We've gone hands-on to see what it's like to shoot with.
Recently, DJI made Waypoints available for their Mavic 3 series of drones, bringing a formerly high-end feature to the masses. We'll look at what this flight mode is and why you should use it.
Astrophotographer Bray Falls was asked to help verify the discovery of the Andromeda Oxygen arc. He describes his process for verification, the equipment he used and where astronomers should point their telescopes next.
OM Digital Solutions has released firmware updates for the following cameras to add compatibility support for its new M.Zuiko Digital ED 90mm F3.5 Macro IS PRO lens: OM-D E-M1 Mark II, E-M1 Mark III, E-M5 Mark III, E-M1X, and OM-5.