Olympus E-P3 vs E-P5

Alex Ethridge · Jun 25, 2017

I'm about to attend a wedding as a guest where the photographer has specified in his contract "no professional grade equipment is allowed" for guests.

I'm looking at maybe getting a used Olympus E-P3 or E-P5 and mounting my 14-42mm f/3.5-5.6 EZ Pancake Lens and hoping I don't suffer the embarrassment of getting called down for it.

Questions:

Aside from the extra four megapixel in the E-P5 , how do the cameras compare in low light situations?

Any differences in sharpness?

Dynamic range?

Image stabilization?

Any caveats?

Anything else anyone might want to add?

bluevellet · Jun 25, 2017

Alex Ethridge said:
I'm about to attend a wedding as a guest where the photographer has specified in his contract "no professional grade equipment is allowed" for guests.

I'm looking at maybe getting a used Olympus E-P3 or E-P5 and mounting my 14-42mm f/3.5-5.6 EZ Pancake Lens and hoping I don't suffer the embarrassment of getting called down for it.

Questions:

Aside from the extra four megapixel in the E-P5 , how do the cameras compare in low light situations?

Any differences in sharpness?

Dynamic range?

Image stabilization?

Any caveats?

Anything else anyone might want to add?

The jump between the old 12mp sensor to 16mp is pretty big. Almost like a completely new camera system. Improvements across the board. My only slight is I think I prefered the old colors/contrast from theold sensor.

IBIS is a pretty big upgrade too. From the old 2-axis system to the newer 5-axis.

I recommend shooting with a small unconspicuous prime instead/on top of the zoom. Something like the zuiko 17mm or one of the fast 25mm by either Oly or Panny.

Doux Vide · Jun 25, 2017

A Pen shouldn't be an issue. I would take the EP5, better in every way.

Alex Ethridge · Jun 25, 2017

bluevellet said:
Alex Ethridge said:

I'm about to attend a wedding as a guest where the photographer has specified in his contract "no professional grade equipment is allowed" for guests.

I'm looking at maybe getting a used Olympus E-P3 or E-P5 and mounting my 14-42mm f/3.5-5.6 EZ Pancake Lens and hoping I don't suffer the embarrassment of getting called down for it.

Questions:

Aside from the extra four megapixel in the E-P5 , how do the cameras compare in low light situations?

Any differences in sharpness?

Dynamic range?

Image stabilization?

Any caveats?

Anything else anyone might want to add?

Click to expand...

The jump between the old 12mp sensor to 16mp is pretty big. Almost like a completely new camera system. Improvements across the board. My only slight is I think I prefered the old colors/contrast from theold sensor.

IBIS is a pretty big upgrade too. From the old 2-axis system to the newer 5-axis.

I recommend shooting with a small unconspicuous prime instead/on top of the zoom. Something like the zuiko 17mm or one of the fast 25mm by either Oly or Panny.

Thanks and I would take your advice on the lens; but, I don't own one of those. The only fixed focal length I have is the 75mm, not very good for this work.

I hate to buy a lens which will have such limited use. As far as inconspicuous, the pancake lens is probably smaller than either the 17 or the 25.

If I take the leap, it will be the E-P5. I'm trying to find out now who the photographer is so I can send an e-mail asking if he considers it "professional grade". My guess is not; but, I'll be buying this specifically for this event and it is better to know for sure.

Day Hiker · Jun 25, 2017

Alex Ethridge said:
bluevellet said:

Alex Ethridge said:

I'm about to attend a wedding as a guest where the photographer has specified in his contract "no professional grade equipment is allowed" for guests.

I'm looking at maybe getting a used Olympus E-P3 or E-P5 and mounting my 14-42mm f/3.5-5.6 EZ Pancake Lens and hoping I don't suffer the embarrassment of getting called down for it.

Questions:

Aside from the extra four megapixel in the E-P5 , how do the cameras compare in low light situations?

Any differences in sharpness?

Dynamic range?

Image stabilization?

Any caveats?

Anything else anyone might want to add?

Click to expand...

The jump between the old 12mp sensor to 16mp is pretty big. Almost like a completely new camera system. Improvements across the board. My only slight is I think I prefered the old colors/contrast from theold sensor.

IBIS is a pretty big upgrade too. From the old 2-axis system to the newer 5-axis.

I recommend shooting with a small unconspicuous prime instead/on top of the zoom. Something like the zuiko 17mm or one of the fast 25mm by either Oly or Panny.

Click to expand...

Thanks and I would take your advice on the lens; but, I don't own one of those. The only fixed focal length I have is the 75mm, not very good for this work.

I hate to buy a lens which will have such limited use. As far as inconspicuous, the pancake lens is probably smaller than either the 17 or the 25.

If I take the leap, it will be the E-P5. I'm trying to find out now who the photographer is so I can send an e-mail asking if he considers it "professional grade". My guess is not; but, I'll be buying this specifically for this event and it is better to know for sure.

The E-P5 with the 14-42 EZ is not a "pro" setup by any stretch. Lacking a viewfinder relegates the camera to the point-and-shoot-hold-the-camera-away-from-your-face stance, sometimes called the dirty baby diaper stance. You will not be called out for having a pro camera.

On the other hand, that camera is capable of excellent pro quality results; I owned one for two years. In good light, many point-and-shoot cameras are capable also.

Do no contact the photographer. You risk being told that all cameras larger than a pack of gum are "pro" level. Ask yourself: What will you do if you are told not to bring the E-P5? Will what you do be any different than if you bring it and are asked to put it away? Just bring it.

I used to shoot weddings. Digital cameras/phones among the guests changed everything in the wedding photo business. If the photographer is depending upon print sales to make money at the wedding and is worried about "pro" cameras, he/she will not be doing this activity much longer. A photographer must sell his/her time, expertise, and service (up front!) as a complete package nowadays, relegating print sales to a "plus" rather than a "must." Once print sales are out of the picture (pun), the biggest annoyance for the photographer is other people with cameras trying to co-opt a staged shot. That's just a matter of firmly putting a stop to it. I often would employ a groomsman or bridesmaid to keep the guests in line and not bother the photographer (me). That was quite effective as they had a stake in making the wedding be the best it could be.

Jim Pilcher
Summit County, Colorado, USA
Life is good in the woods. All paths lead forward.

Bangers and Mash · Jun 25, 2017

Alex Ethridge said:
I'm about to attend a wedding as a guest where the photographer has specified in his contract "no professional grade equipment is allowed" for guests.

I'm looking at maybe getting a used Olympus E-P3 or E-P5 and mounting my 14-42mm f/3.5-5.6 EZ Pancake Lens and hoping I don't suffer the embarrassment of getting called down for it.

Questions:

Aside from the extra four megapixel in the E-P5 , how do the cameras compare in low light situations?

Any differences in sharpness?

Dynamic range?

Image stabilization?

Any caveats?

Anything else anyone might want to add?

I had the E-P3 and it was a great little camera. I think the E-P5 would be your better choice though. Better sensor and better IS.

Question. What is with that photographer? I'm sorry, but who does he think he is making stipulations like to the guests. If it was me, I would bring whatever camera I choose to. He has no right telling anyone what to bring and what not to bring. I'm surprised that the bride and groom would agree to such a contract. I have never in my life heard of such bunk. I have shot a few wedding years ago, and some of the guest brought cameras better than mine. That's their right of choice.

I definitely wouldn't go out and spend money on a camera just to meet the requirements of that dictator. Save your money for a camera you really like, and just go to the wedding and enjoy yourself as a guest. You can always get images from others if you really want them.

--
A smart person knows what to say, a wise person knows whether or not to say it.

Alex Ethridge · Jun 25, 2017

Well, it's family, my family and I don't want to cause a problem. Advice taken. I decided about an hour ago to just take what I like in M43, probably the E-M5.

Rmark · Jun 25, 2017

A contract with a clause like that certainly demonstrates a lack of confidence or skill on the part of the " professional" .

The term " pro grade equipment" is pretty vague. Is a Nikon D3300 pro, or would it have to be a D810?

Loga · Jun 25, 2017

bluevellet said:
The jump between the old 12mp sensor to 16mp is pretty big. Almost like a completely new camera system. Improvements across the board. My only slight is I think I prefered the old colors/contrast from theold sensor.

Me too!

Actually, what I really prefer is the old sensor's better microcontrast. More lifelike pics, better pop from the subject isolation. Never cartoon-like pictures. (And no noise at base ISO, normal circumstances, while the new ones do produce unfortunalely.)

MPrince · Jun 25, 2017

Did the wedding invitation state you couldn't bring "pro level" camera gear? If not I wouldn't concern myself with the photographer's insecurity. The photographer's contract is with the bride & groom, not with you and the other guests. You cannot be bound by the terms of a contract that you did not enter into.

Alex Ethridge · Jun 25, 2017

It's not bunk. It is common in contracts. In the days of film, I included such a clause in my contracts. There were no cell phone cameras then so preventing people shooting setup shots over my shoulder was much easier. Besides, I shot medium format (6 x 7). 35mm and smaller could not compete anyway.

My contracts also put the onus on the bride or her designee to keep everyone on hand for group pictures. I had seen too many situations where brides were upset because "Aunt Minnie" or "Grandpa Jones" was not in the pictures and died soon after. They always blamed the photographer. Keeping everyone together for those shots sometimes was like herding cats. I did have to remind a few brides of that term.

I had an assistant also who faced the crowd to guard against such as I faced the subjects for the set up shots. My assistant was fabulous at setting it up then posting herself as "guard".

I didn't tell people what they could bring; but, I did tell them to not raise their cameras.

Point being this: The photographer can put in anything s/he likes and if the bride signs it, it becomes "law" for the duration of that wedding and reception.

Day Hiker · Jun 25, 2017

Jim Pilcher
Summit County, Colorado, USA
Life is good in the woods. All paths lead forward.

Bangers and Mash · Jun 25, 2017

Alex Ethridge said:
It's not bunk. It is common in contracts. In the days of film, I included such a clause in my contracts. There were no cell phone cameras then so preventing people shooting setup shots over my shoulder was much easier. Besides, I shot medium format (6 x 7). 35mm and smaller could not compete anyway.

Of course it's up to whatever is agreed upon between you and your client, but I still feel it it is a little over the top to ask people, or require people to leave their upscale, so to speak, cameras at home. I good photographer who's worth his skills shouldn't feel threatened in anyway by others who have decent cameras.

Alex Ethridge said:
My contracts also put the onus on the bride or her designee to keep everyone on hand for group pictures. I had seen too many situations where brides were upset because "Aunt Minnie" or "Grandpa Jones" was not in the pictures and died soon after. They always blamed the photographer. Keeping everyone together for those shots sometimes was like herding cats. I did have to remind a few brides of that term.

Of course, someone, and who better than the bride or groom to make sure nobody is missing. How can the photographer possibly know all that should be or not be included in the photographs.

Alex Ethridge said:
I had an assistant also who faced the crowd to guard against such as I faced the subjects for the set up shots. My assistant was fabulous at setting it up then posting herself as "guard".

You were fortunate to be able to have/afford an assistant. I was only small potatoes compared to you, and only took a few weddings anyway.

Alex Ethridge said:
I didn't tell people what they could bring; but, I did tell them to not raise their cameras.

Yes, I agree with that one. When your ready to shoot, it's only fair to ask others to hold off.

Alex Ethridge said:
Point being this: The photographer can put in anything s/he likes and if the bride signs it, it becomes "law" for the duration of that wedding and reception.

Yes, like I mentioned, you can make any stipulation you want between yourself and the bride and groom, but, I honestly feel that asking people to leave their nice cameras at home is a bit much.

Wayne

Bangers and Mash · Jun 25, 2017

MPrince said:
Did the wedding invitation state you couldn't bring "pro level" camera gear? If not I wouldn't concern myself with the photographer's insecurity. The photographer's contract is with the bride & groom, not with you and the other guests. You cannot be bound by the terms of a contract that you did not enter into.

I agree, but at the same time, one must think of the stress that the bride and groom are going through, and if the bride and groom agreed to such a contract, then others should go along with it. They don't need any issues during the wedding. It's their day after all. My beef is with a photographer that would stipulate such a thing. During much of the shooting, it would be fare to ask if others be mindful of the photographer and for others to not get in his way. He is being payed to do a job and the bride and groom are hoping he/she will do a good shoot. It's difficult enough for the photographer without having to dodge around Uncle Harry, for example, who is getting in his way. That is the only stipulation i would make. "Please keep out of the photographers way, and hold off taking photos while he is shooting." That's it.

47872Mike · Nov 1, 2017

Loga said:
Loga said:

The jump between the old 12mp sensor to 16mp is pretty big. Almost like a completely new camera system. Improvements across the board. My only slight is I think I prefered the old colors/contrast from theold sensor.

Click to expand...

Me too! Actually, what I really prefer is the old sensor's better microcontrast. More lifelike pics, better pop from the subject isolation. Never cartoon-like pictures. (And no noise at base ISO, normal circumstances, while the new ones do produce unfortunalely.)

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Olympus E-P3 vs E-P5

Alex Ethridge

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