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When Olympus introduced the original Micro Four Thirds PEN E-P1 almost 4 years ago in June , it was the first mirrorless interchangeable lens camera to adopt a compact, ‘rangefinder-style’ body that made no pretence to look like an SLR. It also saw the company striking out in a direction it’s followed ever since – designing attractive yet capable little cameras that consciously draw on its long-running film camera heritage.

It includes many of the features that made the E-M5 such a compelling package, such as the same 16MP MOS sensor, advanced ‘5-axis’ in-body image stabilization now with automatic panning detection , 9 fps continuous shooting, and tilting rear touch screen. One key change compared to previous E-Px models is a rearrangement of the controls – gone are the thumb roller and tiny rear dial, replaced by ‘proper’ front and rear dials that protrude horizontally from the top plate.

The E-P5 features what Olympus calls a ‘2×2’ dial interface: a small lever on the back of the camera switches these dials from controlling exposure parameters to changing ISO and white balance.

If you don’t like this arrangement, the lever can be customized to a couple of other options described later in this review. This is aided by the addition of an ISO equivalent ‘LOW’ setting, although this will likely come at the expense of some highlight clipping. The E-P5 also offers a fast startup time of just 0. In traditional Olympus fashion the E-P5 gets a few new features compared to previous models. There’s a ‘Super-spot AF’ mode that allows extremely precise positioning of the AF point when using magnified live view, very much like the one seen on recent Panasonic models.

It gains timed intervalometer shooting, along with the ability to assemble time-lapse movies in-camera. The Live Bulb mode, that allows you to monitor the progress of long exposures while the shutter is open, now features an on-screen histogram to help monitor exposure build-up. The image stabilization system is also now always active by default, to provide a stabilized live view feed especially useful when using telephoto lenses.

This is essentially an extension of Art Filters, allowing you to generate multi-image composites rather like the pages of a photo book, in a wide variety of themes. It may not be something enthusiast photographers will use all the time, and arguably better suited to lower-end PEN models, but it’s good to see Olympus continuing to come up with new ideas.

The E-P5 comes in three colour schemes; black, silver and white. The all-black version that we’ve shown in this review has a textured matte finish which we expect will be appreciated by street photographers – it looks particularly fine when coupled with the black versions of the M.

Zuiko Digital 17mm Zuiko Digital 45mm Zuiko Digital ED 75mm The camera also comes in a very handsome silver-and-black finish that harks back to Olympus’s classic cameras from the s and ’70s, and a white version with a beige grip.

Olympus will also be offering a limited edition model with a wooden grip, and a range of premium accessories such as leather cases. The E-P5 will be available either body-only for approx. Zuiko Digital mm Zuiko Digital 17mm F1. Hi all Pen E-P5 users I recently bought this camera with firmware 1.

Anyone done this before? Cheers and happy shooting. I recently picked up this camera from my local bricks and mortar camera store. I will be posting a review in a few weeks after I have had time to take some photo’s make some prints and do some comparisons. So far I see no evidence of so called “shutter shock” at the relevant shutter speeds and I am not using any of the special anti-shock settings Firmware Ver.

But then again, I never saw them on the E-pl1 either. Something I’m curious about In the studio scene the E-P5 seems unable to resolve the king of club’s hair, something which the E-M10 does easily and the GX-7 too , and in fact the image seems slightly soft throughout.

I’ve not noticed this softness in other images from this camera, but since I’m trying to decide whether to buy one I’d like to know if there is any other explanation!

Well, it’s good to hear Olympus got around to trying to fix this issue in the E-P5. I wonder if the same will happen for their other cameras. It is essential to keep it turned off to avoid dreadful double image blur. I have no idea why it’s so much more pathetic than the IS of the E-PL2 poor, but not normally harmful to sharpness except with telephoto lenses and E-P2 quite good at times. Good news! Just received an info from olympus service Europe that a new firmware 1. As a matter of fact, the metering display bug introduced by FW 1.

After the fact is doesn’t help much. While Olympus is working on a fix – I would definitely like to roll back to FW 1. Very frustrating. I agree Paul. I too have observed the same metering display problem on my camera after upgrading to 1. Is Olympus aware of the problem? My discussion with oly service in Germany lead to the fact, that they ackowledged the problem after few hours and said, they communicated it to Japan.

It is all about setting priorities. As long as only few people complain, oly might prefer to work on other projects, whatever the severity of the bug might be. I updated two day ago, and see no problem as described. I updated with the VF4 mounted, maybe that could make the difference,or Oly already made a patch? But, well, the fix is annouced to be released within the next days. You certainly have the original FW 1. The fixed version should be FW 1. Perhaps it is best just to wait now – since it has been confirmed from various sites, oly is really working an a short term fix.

For the time being I activate live histogram – so that a force the camera to show the actual exposure settings. For me the workaround is having the histogram on, and wait for the 1. However Olympus could have made the menu implementation of the anti-shock simpler and lamentable documentation of the feature much better. Thank goodness for various reviews which documented and illustrated how to implement. The menu system for this camera must be the most convoluted and obscure ever.

Unfortunately FW 1. I would be happy if I could! But that seems to be impossible I have never “road tested” the EP5 – but what is significantly different in its mechanism than the EP2 that causes this blurring?

The E-P2 was merely a quick update to the E-P1. Okay, grain boundaries were hit very quickly, but that was not a big issue. I used to have ASA kodak negatives published at A3 – the vagaries of the printing process for all but the most expensive publications hid a multitude of sins – lpi on poor stock and cheap ink was the norm.

I now have a PEN an old EP2, no rush to upgrade – and it’s still important to have a range of possibilities when shooting offset litho is much better in the digital age too, so resolution and grain are important. Of course, I could buy a full frame camera – but I have never liked bulk and don’t fancy lumping those ridiculously ugly plastic bricks about.

Its all a happy compromise, as ever. Does anybody remember Kodachrome 25? It was a very slow film that, given a decent camera, produced smooth, sharp slides, with great dynamic range. That’s ISO 25 folks. The reason we all craved fast lenses was so we could use un-speckled films with greater freedom. That’s the point, wide latitude to shoot. It’s why we badmouth the odd camera–it takes away our freedom.

On an entry level SLR, f1. So here we are, electronic sensors that take us out to ISO without much noise, and a step more with heavier noise reduction that steals a bit of detail. Typical kit zooms nowadays all start at f3. That is two stops slower than f1. Have it all. The standard primes used to be quite inexpensive. The marketing department sticking it to us is what happened On the other hand it is great fun shooting in candle light with my M at ISO or above and f0.

I still use Kodak T-Max in my M4 but film grain is somehow much more acceptable than digital noise. The reduction in the noise of sensors over the last few years increases possibilities of imaging by a lot. That means the shake problem cannot be fix when sequential shooting. Of course you drop rate to about fps at H Sequential. Now year later E-M1 is receiving a fv4.

In any case there seem to be still 2 shutter movements. One before and one after the exposure. Side remark: Despite of extensive testing I have never been able to find clear evidence of shutter induced blur with FW 1. And I don’t see a clear improvement in this respect with FW 1. Any Ideas or observations? Thanks, Paul. Sensor is then reset via electronic first curtain and the exposure ends in a regular way with mechanical 2nd curtain.

I assume that 25ms difference is hard to observe by hearing.

 
 

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