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Review: Panasonic Leica 8-18mm f/2.8-4.0 DG Vario-Elmarit


Dallas

A few weeks back I wrote a short piece about how I was having a serious bout of GAS after discovering a new Panasonic Leica 8-18mm lens sitting in a local electronics store. At the time I managed to resist the overwhelming urge to purchase the lens because they didn’t have pricing for it. And I also didn’t really have the kind of money lying around that I could justify such a purchase with. It’s not a cheap lens. So it stayed in the store.

 

It turns out that the lens was a demo unit on consignment to the retailer from Panasonic South Africa and not a stock item (Panasonic stuff is like hen’s teeth here in SA). I wrote to the local agents and asked if I could borrow it for a couple of weeks to write a review. They agreed and the result is this review.

 

Who's It For?

 

Where can I begin? If you are interested in this lens I am sure that you have already gone through all the typical reviews that you will find from the usual suspects on the internet. You know, the guys who’s job it is to review lenses and tell you all about the specs, how sharp it is, what they think is wrong with it, even though hardly any of them have ever worked a day in their lives as actual photographers using these tools. Then, at the end of the review they ask you to buy the lens using their links so that they can get commission on the sale. That’s their job, I guess, but I’m not one of them. I’m reviewing this lens based on what it can do for my photography business. Nothing else. If it’s rubbish I will say it’s rubbish. If I bought it myself then you’ll know it’s worth having.

 

Those of you who follow me here on Fotozones will know that I work full time as a professional photographer doing various types of work and over the past 5 months that work has included a lot of real estate photography. This is a genre of work that I really enjoy. I have been using an Olympus E-M1 body and Olympus 9-18mm f/4.0-5.6 lens.

 

My methods for shooting RE are a little different to your typical RE photographer in that I don’t use flash and I simply refuse to work in the abortion of logic that is called Photoshop. Everything I do is processed in Lightroom using a 3 frame HDR bracket, a bunch of presets and an eyes-on visual inspection of each shot I present to my client. The only batch work I do comes at export time. My images are used on the internet and not for print.

 

Yes, I could spend a lot more time getting a better result by following the methods of those who use multiple ambient and flash exposures and then spend an inordinate amount of time in Photoshop painting in masks and a myriad of other tricky things. But if I followed that sort of workflow I would not be able to do the same volume of work I am doing for the kind of money I am getting paid per property. It just wouldn’t work out.

 

So, I have created a workflow that sees me in and out of a moderately sized 3-4 bedroomed home in under 30 minutes. I know what compositions are typically needed for RE photography, so the thing that takes me the most time on location is leveling my camera (assuming the client has prepared their home for the shoot and I don’t have to move much of their stuff around). The leveling is done using the built-in levels on the Olympus E-M1 and the bracketing is done automatically, requiring a single shutter press - a great feature of the E-M1 cameras I use. On average I deliver about 25 edited images per property and I shoot sometimes up to 5 properties a day.

 

On the editing side of things I probably spend as much time per property as I do on shooting, so I have been on a quest to reduce this time overhead as much as I can.

 

My RE editing process comprises selecting the three frames I need to blend in the Lr HDR program, running through a few presets, such as correcting converging verticals and with the Olympus 9-18mm fixing the somewhat noticeable barrel distortion seen when shooting at 9mm. I have also found that while the 9-18mm lens is plenty sharp enough, when I am shooting towards bright light sources such as windows, I get quite a bit of blooming around the window frames using my shooting method. If I was using flash and Ps masks to blend in layers this wouldn’t be an issue, but the time that would take isn’t an option for me on these jobs. I need to reduce the amount of time I spend doing the editing, which is, I suppose, really all about fixing up these 9-18mm lens “issues”.

 

All the wide angle zoom lenses that I have ever owned and used (and there have been quite a few of them) have had their own little idiosyncrasies. When I first started shooting property I had the Nikon D200 and Sigma 15-30mm, which was a pretty good lens, but you needed to work on the warm colour that the lens had. Later I used the Nikon D700 with that same lens, which was eventually replaced with the Sigma 12-24mm FX frame lens, an insanely wide beast but one that required a great deal of care when composing. It wasn’t really good for interiors at 12mm because of the amount of crazy distortion on the edges you could make a tiny room look like an auditorium, so I would have to zoom in to about 16mm to make things look normal(ish).

 

When I moved to micro four thirds there were only 2 options for wide angle lenses offering more than a 100˚ angle of view. There was the impossible (for me) to find Panasonic 7-14mm f/4, which had a lot of bad reviews and didn’t do well with light sources at all, or there was the lens I have been using, the Olympus 9-18mm f/4.0-5.6. For a time I did have the Olympus 7-14mm f/4.0 in 4/3 mount used via the MMF adapter, but that thing was just as big as a Nikon 14-24mm f/2.8, so not really practical as an RE lens (if, like me, you moved to MFT to get away from the bulk).

 

When Olympus brought out their 7-14mm f/2.8 PRO I thought my prayers had been answered, but as you would have read on my review of that lens, it just can’t handle the type of work I wanted to use it for. The flare caused by that massive front element is a major problem and would drive any RE photographer insane. Also, there is something about the way it compresses scene edges that just looks very unnatural to me, so I passed on it.

 

That has left me with the diminutive Olympus 9-18mm as my only interior lens and to be honest, apart from the window bloom and barrel distortion which can be fixed it’s perfectly fine. And small.

 

Enter the Panasonic Leica 8-18mm f/2.8-4.0 Vario-Elmarit lens.

 

As I mentioned in my previous article, this is one really nicely designed and constructed wide angle lens. It is significantly bigger than the 9-18mm Oly though, especially when the hood is attached, so that’s not a plus in my book. When I am working on these RE jobs I carry all my camera gear in the smallish ThinkTank TurnStyle 10. The size of my gear for work purposes is very important to me.

 

EM1B0089.jpg

I put both the lenses on my product table to show you the difference in size. 

 

EM1B0090.jpg

This is the 8-18mm on my E-M1 without the grip

 

EM1B0091.jpg

And here's the 9-18mm on the same body. 

 

In that bag I have one Olympus E-M1 body (sans grip) with an L-plate, the Panasonic GM1 and its 12-32mm lens, plus my Samyang 7.5mm fisheye, which I use when I find myself in really tiny bathrooms (I straighten the fisheye in Lr using the profile provided). My back-up body is the Olympus Pen E-PL5 and also in the bag are my spare batteries and a small power bank for my iPhone (running google Maps for most of the day does tend to run your device’s power down).

 

When I first mounted the 8-18mm to the E-M1 it didn’t fit in the bag, so I had to re-configure it a little, resulting in the removal of the GM1. Once I did that it has become an easy fit and I also have the 9-18mm now on the Pen body, just in case.

 

In the 2 weeks that I have been using the 8-18mm I have photographed over 20 properties with it. The first one I did I was very interested to notice that the metering on the E-M1 coupled with this lens was definitely giving me darker images than I get with the 9-18mm using the same bracketing sequence. I’d say it was about a stop darker and especially noticeable where I had bright windows in my compositions. Not a biggie, but interesting nonetheless.

 

What was more immediately noticeable though was that the blooming around the windows was nowhere near as dramatic as is the case with the Olympus 9-18mm. With the Oly I tend to use a negative clarity to try and make it look a bit more flattering, but with the Leica that isn’t needed at all. There is still some blooming, but it doesn’t require anywhere near the same kind of attention my Olympus lens needs. In fact, the 8-18mm makes mincemeat of the 9-18mm where that is concerned. And there, already, is more than enough of a reason for me to upgrade to it. Not having to deal with the windows in post on my RE shoots saves me a ton of processing time and headaches.

 

P9030057-HDR.jpg

A typical scene I am faced with in my job as an RE photographer. This one was a 3 frame bracket, each a stop apart, blended in Lightroom, no flash at all. I'll take this result all day!

 

P8290134-HDR.jpg

 

P8310199-HDR.jpg

Some exteriors of the higher end homes I shot in August/September 2018. 

 

But what about other applications?

 

I’ve had the 9-18mm for a long time. It was one of the first lenses I bought after I made the switch from Nikon and I have made some of my most memorable landscape images with that lens, particularly in Namibia when we were on safari there in 2013. I have the LEE Seven5 filter set and an adapter ring so that I can use it on the 9-18mm. This is another problem with the Olympus 7-14mm 2.8 PRO. If you want to use it to make landscapes with any kind of filter system you have to buy some ridiculous after market apparatus to put any kind of filters on the lens, since it has no filter thread. Not the case with the Panny 8-18mm. You can take off the hood and the lens body acts as a kind of shroud for the front element (which does move in and out, but never beyond the tip of the body). This means that all I have to do to use my LEE Filters is buy a 67mm adapter for the holder. Presto. I will have a better landscape lens, designed by Leica. Unfortunately I didn’t get enough time with the lens to be able to do any meaningful landscape photography, but I did take it down to the beach one overcast day. Below are a few samples of that outing.

 

As a walk-around lens for street photography I think the Olympus 9-18mm is much better. It’s a lot smaller and as such is much less conspicuous, not to mention easier to carry in a small bag along with a normal perspective lens.

 

How much of a difference does that extra 1mm make on a MFT frame? If you’re an outdoor shooter you won’t notice it, but if you’re like me and you’re shooting interiors then the extra 7˚ on the wide end can make your life a little easier, especially if you don’t have a fisheye lens for those really tiny bathrooms. Or kitchens. 

 

P8290073-HDR.jpg

 

P8270169.jpg

Shot at 8mm

 

P8270170.jpg

Shot at 9mm

 

Sharpness

 

As far as sharpness is concerned I don’t really see a big difference between the two. Obviously the Leica designed optics of the 8-18mm will be better at micro-contrast and as mentioned before the coatings are more flare resistant than the 9-18mm, which does mean that you have to do less work in editing.

 

You should be able to get the same results from either lens in most applications, the notable exception being my primary need of real estate photography. I’m sure that the propellor heads at the main techie sites will have done some kind of measuring that will allow you to compare the differences. I have no interest in that stuff, so it plays no part in my review process. Honestly, I don’t think anybody even makes an unsharp lens anymore, so why bother with such banality.

 

Cost Considerations

 

The main consideration for a person who is considering buying a wide angle lens for their MFT system is usually cost versus benefit. Looking at the price difference between these two items the Panasonic is nearly double the price of the Olympus, so it should offer a lot more. Does it?

 

Yes, it is much better made and it has the Leica pedigree, so that can, to a degree justify the $450 extra you’ll have to fork over to own this lens. In my case the savings in editing time totally justify the not insignificant outlay. And I really like the look and feel of this lens enough to say, screw it, I will have it, one way or another. However, if you’re traveling to somewhere distant and size / weight is a factor, you should think about the Olympus 9-18mm instead.

 

Bottom Line

 

You won’t be disappointed with the 8-18mm. Unless you’re a propellor head looking for something to nit pick over. Or you have size constraints. I give this lens full marks. 

Edited by Dallas


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Thanks for an honest and sensible review Dallas based on your professional usage. It makes such refreshing change.

I was also interested in your post processing or lack of it! I'm at the opposite end of the scale to you being just an enthusiastic amateur but I find that Lightroom can do more or less everything I need for competition and exhibition work despite being very familiar with Photoshop.

I too bracket and convert to HDR where necessary in LR and find it a very successful and speedy process.

I hope you mange to get hold of the 8-18mm which seems ideal for your work.

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Nice review Dallas, I’ve only just got mine so no examples to show yet!

 

I will say that the weight to me is OK, I’m comparing it with the Fujinon 10-24mm f4 a very similar lens. That is one of my favourite Fujinon lenses, I reckon the P Leica will become a favourite M4/3 lens!

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1 hour ago, Clactonian said:

Thanks for an honest and sensible review Dallas based on your professional usage. It makes such refreshing change.

I was also interested in your post processing or lack of it! I'm at the opposite end of the scale to you being just an enthusiastic amateur but I find that Lightroom can do more or less everything I need for competition and exhibition work despite being very familiar with Photoshop.

I too bracket and convert to HDR where necessary in LR and find it a very successful and speedy process.

I hope you mange to get hold of the 8-18mm which seems ideal for your work.

 

Thanks Mike #1. :) 

 

I had to use Photoshop yesterday for some product photography I am doing for a whisky brand. Man... I really hate that application. It is so counter-intuitive to me, especially when it comes to saving your work. The destructive nature of the work flow and how the developers have basically kludged their way around this with all these "smart objects" and other illogical goings on leave me exasperated. Once Lightroom introduces a more controllable masking process and the possibility of also adding in paths and selections I won't have any need for Ps anymore.

 

That reminds me, I still have to review the new Luminar 2018. I think I will make that my project for next week. 

 

Thanks Mike #2. :D 

 

Yes, it's not a huge lens by any standard, but compared to the 9-18mm it is a bit of a jolt to the eyes. 

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"Once Lightroom introduces a more controllable masking process and the possibility of also adding in paths and selections I won't have any need for Ps anymore."

 

I find the adjustment brush quite a powerful tool for local adjustments but obviously not as accurate to use as PS selection and masking tools.

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Thanks for the review Dallas. The 8-18 is a lens I was already looking at for a while, mainly because of the size of the 7-14 PRO and the fact you cannot use it with filters. Now you got me thinking again ;-)

 

Beautiful RE shots you have shown here, you really make the property stand out. I would be a happy customer of yours!

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Thank you, Robert! It's a stunning lens. I had to give it back on Saturday, but I will definitely be picking up one for myself soon. I was shooting with the 9-18mm again this morning and that extra 1mm was definitely missed. This galley kitchen would have given me a bit extra on the edges. The windows on this one actually didn't bloom that much considering how bright is was today. 

 

P9100040-HDR.jpg

Olympus E-M1 + 9-18mm f/4-5.6

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Your RE photos look really good Dallas, especially the first three. Still a bit of visible barrel distortion on the fridge in nr. 4. If I were eyeing a new place to live, your representation would make me come over and check the place out.

 

When I photographed my own home years ago when I was selling it, it only occurred to me in PP how many (unwanted) details are visible in the final photos. You've done a good job cleaning up the place before you took the shots.

 

I'm happy for you you're getting the Pana 8-18. My brother uses the Pana 12-60 on his Oly camera and I was impressed with both picture and build quality.

 

Disclosure: I was going to use a thumbs-up emoticon but in my heart I agree with Vivion that an emoticon is not a substitute for typing a motivated and motivating comment. So here you go.

 

I've recently dusted off my X-T1 which has spent a long time in a cupboard. Hope to get out soon, take pictures and post some.

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Thank you, Maarten. I wish all of the shoots I do were as good as these. Sometimes I enter horror houses where there is so much clutter your brain can't even absorb it all. 

 

I click the emoji up and write a response, most of the time. :) 

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Luc de Schepper

Posted

Dallas, great you have your own copy now!

 

Yesterday I took this lens (and a fitting camera 😉) with me on a visit with friends to the Zaanse Schans, a group of historic windmills near Zaandam/Holland.

 

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Also very suitable for wide-angle interior shots 

 

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43877032490_d7421ccf18_b.jpg

 

 

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It’s many years now since my wife and I visited Zaanse Schans, came home with lots of cheese but no clogs! If I remember correctly it was in April and freezing cold, and I mean really cold!

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Luc de Schepper

Posted

On ‎03‎/‎11‎/‎2018 at 16:27, Mike G said:

It’s many years now since my wife and I visited Zaanse Schans, came home with lots of cheese but no clogs! If I remember correctly it was in April and freezing cold, and I mean really cold!

 

Mike, in my experience that part of Holland is always windy and/or cold. It's a fairly narrow stroke of land with the North Sea on the left and the IJsselmeer on the right. Cheese and clogs, luckily there's more to Holland than just that ;)

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Luc de Schepper

Posted

14 hours ago, Mike G said:

An 8-18mm shot of Uxbridge tube station.

Lumix G9 + 8-18mm @ 1/60 f5.6 ISO200 at 8mm

CEFFEB6D-7913-40B6-85F9-7C75D6EC5C4E.thumb.jpeg.9565c39ed603cb006fc5d9687fe7be85.jpeg

 

 

 

Nice Mike, 8mm is really wide on Micro Four Thirds!

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Thanks Luc, I’m seeing this lens as a direct equivalent of the Fujinon 10-24mm, but with a greater range. Not sure if you’ve had any experience of this lens but it has a silky smooth feel to the operation and very quick focusing.

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Luc de Schepper

Posted (edited)

Mike, in fact almost the same range ;) Equivalent ranges are Panasonic MFT 8-18=16-36 and Fuji DX 10-24=15-36. I know the Fuji, a great lens with comparable characteristics/qualities to the Panasonic.

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Luc, you are of course quite right.

And I do realise that the Netherlands is more than cheese and clogs, let’s not forget tulips. 😊

The production of cheese begins!

81569EB1-A41E-4FD5-AE24-B2A2420159DD.thumb.jpeg.e2a7296ef33b622e9bb0f1401efcc657.jpeg

X-H1 + 35mm 1.4

 

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Luc de Schepper

Posted (edited)

:D That looks like an image shot from a river cruise ship on the Amsterdam-Rijn kanaal.

Edited by Luc de Schepper
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      This discovery had me really thinking about whether I should add a 35mm mirrorless camera from either Sony or Canon and the 17mm TS to my arsenal for architectural work (an area I am most comfortable working in). The costs would have been justifiable, in fact I would be able to purchase an EOS RP body and the lens for about the same money as an Olympus E-M1X. Alternatively I could buy a new old stock Sony A7ii with a kit lens for less than the price of the Canon RP and if I wanted to, I could build up a collection of 35mm glass that could include the Sony Zeiss range too.
       
      I had been thinking about doing this since midway through 2019. In fact, while on holiday in Cape Town last year I visited Orms camera store the day before Black Friday and got hands on with both Canon RP and Sony A7iii (they didn’t have the ii). The A7iii felt fantastic in hand compared to the RP, but it was quite a lot more expensive and they weren’t including the 28-70mm kit lens that the A7ii usually gets sold with.
       
      A part of my brain that I have never truly understood when it comes to rationalising gear purchases began sending an urgent pulse pressing me to buy the thing anyway and worry about the financial impact later. After all, I would be able to make it up quickly in work that would surely pour through the door the moment the world learned that I had upgraded my camera. This other conservative part of my brain was telling me to stop fooling myself about parting with such a large sum of money for something that would simply serve as a gateway to much more expense in the form of lenses I would not be able to resist if I added this new system to my gear.
       
      On the day the conservative brain won out and I breathlessly retreated back to my Airbnb to re-absorb our amazing view of Table Mountain (which tends to calm most people’s troubled minds). After returning from my Cape Town holiday to Durban I couldn’t get this potential system switch out of my mind and this wasn’t helped by commercial emails from suppliers landing in my inbox advising me of price drops on the Sony A7ii with the kit lens to levels that are mouth-wateringly tempting.
       
      I watched video after video on YouTube about the A7ii and it’s hard to find anybody not happy with that camera, even though it is now about 6 years old. I thought about my own carefully crafted MFT system and forced myself to truthfully evaluate what it was that I found lacking that would prompt me to go in a different direction.
       
      I thought long and hard about it and after doing a few more successful shoots in a variety of different fields, including real estate, product photography and (new to me) commercial lifestyle with real models and off camera flash in the field, I began to remember why I had moved across to MFT in the first place.
       
      I have been using two E-M1 bodies with a variety of different lenses since my move from Nikon FX in 2014. One of these bodies has had to have its shutter replaced, a process that wasn’t particularly bothersome, even though the camera had to be sent to Portugal for the work to be done. When it came back about 3 weeks later it looked like a brand new camera because they replaced all the rubbers, as well as the entire top plate. Well worth the expense.
       
      When I bring images into Lightroom from my Olympus E-M1 cameras I barely have to do anything to them before delivering to clients. I do have some presets that recover highlights and shadows and these days I can’t seem to stop myself from applying the dehaze filter by at least +10 on everything I shoot, but that’s really it as far as pixel massaging goes. I don’t ever sharpen and I don’t typically use noise reduction on client work either. Since my first jobs after moving to this system professionally (I have used MFT cameras personally since about 2011) I have not had a single client ever question the quality of my images. Not one. In fact I get compliments about my work all the time, even from other photographers.
       
      When I look at the 8 lenses I am presently using, apart from the “mandatory”  tilt shift lenses that architectural photographers wax lyrical over, I have everything I need, from 7.5mm fisheye, all the way up to 280mm telephoto (560mm angle of view in 35mm terms). All of the lenses I use are exceptional performers and honestly I could not wish for anything more from them. I know that if I was to move back to 35mm I would have to spend a huge amount of money to get the same as what I currently have in lenses.
       
      And what would I be gaining if I made that move? For sure, I would get better low light performance, shallower depth of field and maybe better AF-C, but how critical is that to what I do? Not very. A lot of the work I do actually requires more depth of field than can reliably be obtained by a 35mm system without engaging some trickery, such as focus stacking, especially in architectural and product photography. I would also have to carry much heavier equipment than is the case with my existing MFT system. Not to mention an entirely new camera support system with new tripods, heads and thicker Peak Design straps.
       
      Despite the click bait fringe elements you will find online who predict the impending demise of the MFT system, there appears to be more development going on with it right now than there is in most other systems. There is quite literally something for everybody in MFT, be it smaller compact camera bodies like the Panasonic GM or Olympus PEN series, giant action cameras like the Olympus E-M1X, serious video and film making capabilities with the Panasonic GH5 and Black Magic Pocket Cinema 4K, alternative lighting that offers HSS and TTL from Godox, plus scores of different lenses from a variety of makers ranging from ultra wide to super telephoto to enormous fast apertures from Voigtlander. It’s pretty much a honey pot for gadget freaks like me, so why would I want to pigeonhole myself with another camera system that is nowhere near as versatile?
       
      I’m sticking with Micro Four Thirds. It just makes a whole lot of sense in spite of that radical part of my brain that usually falls victim to the FOMO GAS.
    • Dallas
      By Dallas
      I recently went through a period of gear FOMO brought about by discussions that were taking place on a couple of real estate photography groups that are dominated by Canon and Sony users.
       
      Basically the feeling expressed by the majority of participants on these groups is that if you aren’t using a 35mm sensor, you won’t be able to do architectural photography properly because you won’t be able to use tilt-shift lenses for other formats, such as APS-C, or in my case Micro Four Thirds.
       
      The two most widely talked about lenses in these circles are the Canon 17mm and 24mm T/S. These are both incredible pieces of glass, but they are also fairly expensive. The reason why they are so highly sought after has less to do with keystone correction than it has to do with being able to shift perspective without having to move the position of a camera. So, for example, if you are in a room and you set up your camera for a one point perspective shot, but decide that you would like to see less of the ceiling and more of the floor, simply shifting the lens downwards instead of re-positioning the camera will allow you to keep the same one point perspective height but obtain more floor than ceiling in your frame. It’s a great way to adjust things in-camera rather than in post.
       
      Sony A7 users are able to not only use the Canon EF lenses with an adapter, but some adapters made by Metabones will also provide you with full metering and auto focus support (down to eye-focus) on the whole Canon range of EF lenses. This means that you can get all the camera features of a Sony and the benefit of Canon’s best glass without really losing any functionality.
       
      This discovery had me really thinking about whether I should add a 35mm mirrorless camera from either Sony or Canon and the 17mm TS to my arsenal for architectural work (an area I am most comfortable working in). The costs would have been justifiable, in fact I would be able to purchase an EOS RP body and the lens for about the same money as an Olympus E-M1X. Alternatively I could buy a new old stock Sony A7ii with a kit lens for less than the price of the Canon RP and if I wanted to, I could build up a collection of 35mm glass that could include the Sony Zeiss range too.
       
      I had been thinking about doing this since midway through 2019. In fact, while on holiday in Cape Town last year I visited Orms camera store the day before Black Friday and got hands on with both Canon RP and Sony A7iii (they didn’t have the ii). The A7iii felt fantastic in hand compared to the RP, but it was quite a lot more expensive and they weren’t including the 28-70mm kit lens that the A7ii usually gets sold with.
       
      A part of my brain that I have never truly understood when it comes to rationalising gear purchases began sending an urgent pulse pressing me to buy the thing anyway and worry about the financial impact later. After all, I would be able to make it up quickly in work that would surely pour through the door the moment the world learned that I had upgraded my camera. This other conservative part of my brain was telling me to stop fooling myself about parting with such a large sum of money for something that would simply serve as a gateway to much more expense in the form of lenses I would not be able to resist if I added this new system to my gear.
       
      On the day the conservative brain won out and I breathlessly retreated back to my Airbnb to re-absorb our amazing view of Table Mountain (which tends to calm most people’s troubled minds). After returning from my Cape Town holiday to Durban I couldn’t get this potential system switch out of my mind and this wasn’t helped by commercial emails from suppliers landing in my inbox advising me of price drops on the Sony A7ii with the kit lens to levels that are mouth-wateringly tempting.
       
      I watched video after video on YouTube about the A7ii and it’s hard to find anybody not happy with that camera, even though it is now about 6 years old. I thought about my own carefully crafted MFT system and forced myself to truthfully evaluate what it was that I found lacking that would prompt me to go in a different direction.
       
      I thought long and hard about it and after doing a few more successful shoots in a variety of different fields, including real estate, product photography and (new to me) commercial lifestyle with real models and off camera flash in the field, I began to remember why I had moved across to MFT in the first place.
       
      I have been using two E-M1 bodies with a variety of different lenses since my move from Nikon FX in 2014. One of these bodies has had to have its shutter replaced, a process that wasn’t particularly bothersome, even though the camera had to be sent to Portugal for the work to be done. When it came back about 3 weeks later it looked like a brand new camera because they replaced all the rubbers, as well as the entire top plate. Well worth the expense.
       
      When I bring images into Lightroom from my Olympus E-M1 cameras I barely have to do anything to them before delivering to clients. I do have some presets that recover highlights and shadows and these days I can’t seem to stop myself from applying the dehaze filter by at least +10 on everything I shoot, but that’s really it as far as pixel massaging goes. I don’t ever sharpen and I don’t typically use noise reduction on client work either. Since my first jobs after moving to this system professionally (I have used MFT cameras personally since about 2011) I have not had a single client ever question the quality of my images. Not one. In fact I get compliments about my work all the time, even from other photographers.
       
      When I look at the 8 lenses I am presently using, apart from the “mandatory”  tilt shift lenses that architectural photographers wax lyrical over, I have everything I need, from 7.5mm fisheye, all the way up to 280mm telephoto (560mm angle of view in 35mm terms). All of the lenses I use are exceptional performers and honestly I could not wish for anything more from them. I know that if I was to move back to 35mm I would have to spend a huge amount of money to get the same as what I currently have in lenses.
       
      And what would I be gaining if I made that move? For sure, I would get better low light performance, shallower depth of field and maybe better AF-C, but how critical is that to what I do? Not very. A lot of the work I do actually requires more depth of field than can reliably be obtained by a 35mm system without engaging some trickery, such as focus stacking, especially in architectural and product photography. I would also have to carry much heavier equipment than is the case with my existing MFT system. Not to mention an entirely new camera support system with new tripods, heads and thicker Peak Design straps.
       
      Despite the click bait fringe elements you will find online who predict the impending demise of the MFT system, there appears to be more development going on with it right now than there is in most other systems. There is quite literally something for everybody in MFT, be it smaller compact camera bodies like the Panasonic GM or Olympus PEN series, giant action cameras like the Olympus E-M1X, serious video and film making capabilities with the Panasonic GH5 and Black Magic Pocket Cinema 4K, alternative lighting that offers HSS and TTL from Godox, plus scores of different lenses from a variety of makers ranging from ultra wide to super telephoto to enormous fast apertures from Voigtlander. It’s pretty much a honey pot for gadget freaks like me, so why would I want to pigeonhole myself with another camera system that is nowhere near as versatile?
       
      I’m sticking with Micro Four Thirds. It just makes a whole lot of sense in spite of that radical part of my brain that usually falls victim to the FOMO GAS.

      View full article
    • Dallas
      By Dallas
      Olympus South Africa very kindly loaned me an E-M1X for my recent Photo Safari to Sabi Sabi and while I only had a few days before leaving on the trip to become accustomed to the camera, I did manage to produce some great images (by my standards) while using it in conjunction with the Olympus 300mm f/4.0 PRO.
       
      The first thing that struck me about this camera when taking it out of the box is the sheer size of it. It is huge. If you’ve been using Micro Four Thirds bodies to get away from the bulk of traditional DSLR’s then you will not want this camera. I was quite shocked at its size initially, especially when compared to my gripped E-M1 (original) which I have been shooting since 2014. The Nikon D5 is only 15mm bigger in terms of depth, height and width all around, so for a small sensor camera to be so close in size to a flagship 35mm camera begs some serious questioning of the makers.
       

      Side-by-side view of the E-M1X and the original E-M1 with its grip
       
      So why did Olympus make this camera so big? When you begin handling it the answer falls into place. It’s designed for sports and action photographers who are used to the speed and heft of cameras like the Nikon D5 and Canon EOS 1D series. That’s the user market Olympus are targeting with this machine. It feels substantial in the hands and the ergonomics are such that if you’re used to a bigger camera, moving across to the E-M1X will be much easier for you to adapt to, especially since the Olympus is so highly customisable that you could easily set it up to pretty much emulate the ergonomics of your big DSLR. Well, maybe not the Canons which often require simultaneous button presses to activate certain things, but most certainly it would be easy for a Nikon shooter to make the change.
       

      Not much in it, dimension wise, is there? 
       
      So we now have a giant MFT camera that feels like a Nikon D5. Why didn’t they do what Panasonic has done and make a bigger sensor too? Good question. Why stick with MFT sensors if you want to attract the sports and wildlife shooters of the world? This is where the concept of MFT begins to make sense. The main advantage to be had when shooting this small format as opposed to 35mm is that MFT lenses are comparatively diminutive. For example, on my safari I packed in the Olympus 300/4.0 PRO as well as my older 50-200/2.8-3.5 SWD and a third un-gripped body with the Olympus 12-100/4.0 PRO. I also had the Pan/Leica 8-18mm lens in my bag because I wanted to make some photos of the lodge while I was there. Those items I took as a carry on in the ThinkTank Airport Advantage roller and while the bag was not exactly light once my laptop and other peripherals were in it (about 15kg total), had I wanted a similar focal range shooting a 35mm system, I would have had to pack a 600mm f/4.0, 200-400mm f/4.0 and a regular camera with professional wide angle and ultra-zoom lenses. There is no way you could take that as a carry on with 35mm, so you’d have to bring a hard case and pay for the extra baggage. You then also have the added stress of wondering if your precious gear will make it to its destination. Having been in this exact situation many times before moving across to MFT from Nikon 35mm I know exactly what the challenges of travelling with large lenses and heavy gear are.
       

      This is the gear I took on the safari in the ThinkTank Airport Advantage.
       
      Conversely travelling with MFT is easy. Even with the giant E-M1X body, the space and weight savings of the incredible Olympus PRO and Panasonic/Leica lenses is a Godsend. Also consider the additional overhead of having to bring along a support system for your big 35mm glass because I doubt you’re going to want to hand hold a 600/4.0 lens if you’re going on a photography trip where such a lens is wanted. You’ll also need to pack a monopod and probably a gimbal head too. MFT systems like Olympus don’t require any support other than your hand, even when shooting the 300mm f/4 PRO. The IBIS and lens IS combine incredibly well.
       
      Given its considerable girth, for the E-M1X to make sense as a photographic tool that is intended to win over 35mm users it also needs to have some other things going for it. It will need to have seriously fast and accurate auto-focus, plus it will need to offer decent image quality in low light. This is where things get interesting. Read on!
       
       
      Auto Focus
       
      I’m not a back-button focus photographer. I can understand the principle behind this method and I have tried it a few times, but I have been using single point AF-S for so long that trying to change that deeply ingrained behaviour is really hard for me. I’ve also never set up any of the cameras I have ever owned to work in AF-C mode with any degree of success, so I tend to stab at the shutter button rapidly to keep slow moving things in focus (it’s very rarely that I will find myself photographing fast moving subjects). This method has worked for me for quite a long time now. So when I started reading the autofocus section in the E-M1X manual (which itself is a gargantuan 680-odd pages long in just English alone!) I was staggered by the array of setup options for the AF system of the E-M1X. I simply didn’t have enough time before my safari to comprehend all the options it offers, let alone try them out in practical situations.
       
      As mentioned I always set up AF to use a single point in AF-S mode and I recompose once I see the green dot. I don’t use the grouped points, so for me learning something as sophisticated as the AF system on the E-M1X is going to require a specific set of applications, which currently I don’t have in my work. For people who shoot birds in flight, aviation, motorsport and fast action sports such as soccer, ice-hockey and the like, this is probably going to be a winner, especially since they have built in subject recognition for certain things like cars, trains and planes. Apparently these subjects will be added to in firmware as they build up better data on new ones. I can imagine that leopard detection might be a thing in the future.
       
      One feature that I didn’t try but thought was interesting is the Len Focus Range. This setup allows you to define the distances that the AF system should work in. It basically allows you to tell the camera not to focus on objects that are a certain distance away from you. For example, if you are shooting a sport like boxing or ice hockey, you could set this up to avoid focusing on the ropes and/or plexiglass between you and what you’re trying to shoot. Some lenses will have these limits built in, but with the E-M1X you can specify exactly how many metres you want to work within.
       
      Another thing I liked about the X is that you can assign the Home position for the single AF point to be in a different position when shooting in the portrait orientation. This is really handy for events when I find myself having to shift the AF point between shooting people at a podium and then switching to the audience in landscape orientation. Very nice feature.
       
      What I can tell you about the AF system as I used it, is that it’s reassuringly lightning quick and accurate for the wildlife subjects I was photographing. There’s no hunting unless you miss a contrast point, like all cameras I have ever tried. Focus is almost instantaneous, even when subjects are not so close.
       
      In summary, I don’t think that anybody coming from 35mm will be disappointed with the AF capability of the E-M1X. If anything they might be pleasantly surprised given the sheer array of options available to control how the system works.
       
       

      Wildebeest in the misty morning, no problem with auto focus here in spite of the grass
       

      Using my "repeated stabbing" AF technique I managed to get a moderately sharp image, but I reckon had I used the camera's AF-S mode here the shot would have been better. 
       
       
      Speed
       
      One of the biggest advances Olympus made with this camera is the CPU speed. This is a very fast camera in terms of how quickly it processes and reads off data from the sensor. It’s so fast that you can do sensor shift high resolution images handheld. I didn’t really try this out properly, plus Lightroom can’t read the resulting .ORI files so the handful of shots I did take with this mode active, I have to process in Olympus Workspace, which I am completely new to. Sorry! As such I can’t formulate an opinion right now on how useful it is based on such a small sample of images, but what I can say is that on stationary subjects I think it can work quite well. I’d love to try it out in studio doing product photography, but I think there might be some issues syncing it with studio strobes.
       
      Getting back to the intended sports user of this camera, there is the not-so-insignificant Pro Capture mode to consider as a lure for the photographers who want to simplify their lives and get great action every time. Basically with the mode active the camera writes continuously to the buffer while you are holding the shutter button halfway down. As soon as your critical capture moment arrives you trip the shutter and the camera will record whatever it has currently in the buffer to the card(s). This is kind of like shooting fish in a barrel really, especially if you have the patience to sit with your finger on the trigger waiting for a bird to take flight. You can’t miss the shot. Unless you’re like me and you get tired of waiting and the bird chuckles at you as you put down the camera just before it flies away.
       

      I'll settle for stationary birds
       
      On the subject of Pro Capture, this mode is set by changing the drive mode in Super Control Panel (SCP). However, the thing is you may (like me) forget to switch this back to a regular drive mode after failing to record the wretched lilac breasted roller taking off, and then at your next sighting you will end up with dozens of images of a stationary buffalo. Or worse still, you’ll be wanting to shoot a sequence of something happening, but after you accidentally trigger Pro Capture you will have to wait for the camera to write its buffer onto your card. If you have a not-so-fast card like me this could be a few seconds, followed by several more trying to remember where to switch off the Pro Capture mode. Ideally I’d love to be able to have Pro Capture activate by holding down a custom function button together with the shutter button. A Fn button on the PRO lenses would be an ideal setup for this pretty cool feature. While I had the E-M1X I couldn’t see a way of being able to assign that particular feature to any of the custom function buttons, so hopefully Olympus’ engineers will read this criticism and work out a way of doing it in future firmware upgrades. I did manage to set up a quick switch between normal and Pro Capture by using the Custom Modes, but that requires remembering to change modes between sightings. Duh.
       
      Regarding Custom Modes there are four of these that are assignable to the PASM dial, so if your memory is better than mine you can set up each custom mode for a different type of shooting simply by changing the mode. However, you’re going to have to have a Gary Kasparov like mind because the sheer number of custom settings on a camera like the E-M1X is mind-boggling. There are pages and pages and more pages of custom settings in the menus and if you’re not used to the way Olympus does menus, you’re either going to go stir crazy or require a lot of patience (and batteries) to get the better of it all. It’s not insurmountable though and experienced Olympus users will probably be able to set up their custom modes quite easily after a few weeks with the camera in the field.
       
      One thing I really liked about the X is that there is a Custom Menu area where you can save up to 5 pages of menu items that you regularly need to access. Storing an item in there is as simple as pressing the Record video button while the item is selected in the menu. That’s a very big plus for me and goes a long way towards personalising the Olympus menu system.
       
       
      Stabilisation
       
      The IBIS and lens IS combine in the E-M1X to create an extraordinary amount of stabilisation. I was using the 300/4.0 PRO on this body almost exclusively for the duration of our 7 days in Sabi Sabi and occasionally I would shoot birds sitting on nearby branches. When I do my focus and recompose technique the subject does what I can only describe as a “moonwalk” glide from one part of the frame to the other. There is absolutely no camera shake at all handheld, which when you consider that you are using a 4.1˚ angle of view is bonkers! Olympus claim a 6 stop advantage in handheld photography and I have no doubt that this is true. Given my sloppy technique this is yet another Godsend to make my images look much better than they should.
       

       

      Stabilisation with long lenses is incredible.
       
       
      Battery
       
      Battery life was pretty decent. The camera comes with two batteries and typically I only exhausted about 50% of the one each day. Granted I don’t shoot as much as everybody else. On this safari I took a total of 1726 images with the E-M1X, averaging 288 per day. So, assuming I were to exhaust both batteries in a day I would be able to shoot over 1000 frames before having to recharge them.
       
      However, it is also possible to charge the camera via USB-C, so if you did get trigger happy enough to shoot that many in a day on safari, you could recharge from a  power bank between sightings. Or just buy more batteries.
       

       
       
      Low Light
       
      Right, this is where the rubber hits the road as far as getting 35mm power-users interested in switching to MFT. I’ll say it at the outset, I was disappointed in the low light performance of the E-M1X sensor.
       
      For starters, it doesn’t seem possible to be able to set Auto-ISO to go above 6400 on the X. None of the expanded ranges are available when using the auto mode while shooting RAW, which I think is just silly. This is how I shoot these days. I always use Auto-ISO. On the original E-M1 I sometimes let this go as high as 12800 and while the images may appear grainy they have a certain film-like charm to them. You can’t do that on the X. You have to set ISO 12800 or above manually.
       
      As far as graininess goes, 6400 on the E-M1X is very grainy and there is also a major loss of colour fidelity. To be honest I was expecting much better performance from the sensor at high ISO, so for me this is a deal breaker. Since the camera is intended to compete against the likes of the Nikon D5 and Canon EOS 1D series (where higher ISO is a forte), it sadly falls well short in this area.
       
      Having said that, I think that if you buy this camera and invest some time in learning how to deal with the grain and colour issues in post production you could probably get some very good results.
       

      Shot at ISO 6400, you can see the grain in the background, plus there has been a general loss of colour saturation.
       

      But then in good light you'll get rewarded.
       

      Gorgeous colours from the Olympus. No adjustments in post.
       
       
      Cool Things I Liked
       
      The sound of the mechanical shutter is really soft. It’s a lot quieter than my old E-M1 and if you are in the business of shooting in quiet places (churches, meetings, etc) you may not even have to switch to electronic shutter and risk the rolling effects thereof. It’s nice and quiet.
       
      I really appreciated the built in GPS and weather sensor on the E-M1X. This camera will tell you what the barometric pressure, altitude and ambient temperature was on every shot you take. I wish Lightroom would pick up those EXIF fields, alas you have to use the Olympus Workspace software to read them.
       
       
      A Couple Of Nit Picks
       
      There are a couple of things that I didn’t like, most notably there is no loop for a grip strap in the base of the camera so you would have to put a plate onto there to accommodate one (I used the Peak Design Clutch with its little plate). That seems like a daft omission to me because the moment you have to put a plate on the grip you lose the comfort of shooting with it in portrait mode.
       
      I was also a bit disappointed with the EVF. The refresh rate and colour was all good, but it just seemed to lack a bit of bite. The EVF on my old original E-M1 seems sharper to my eyes, which is a little weird. I did try adjusting the diopter a few times, but it didn’t seem to improve things. It could have been a contrast setting in the menus that I missed?
       
      The one thing I really don’t like (and I have expressed my dislike of this before) is the flip out LCD screen. This is something video producers want, but as a stills photographer I truly don’t want this as it’s a very weak point of the camera just waiting to snap off in the right circumstances. I much prefer the tilting screen of the original OM-D’s. Olympus should make it an option for this kind of premium camera: which type of LCD screen would you prefer, Mr. Customer?
       
       
      Conclusion
       
      I wish that I could have kept the camera for just a little bit longer as there are many other areas I would have liked to explore its performance in, especially my daily bread and butter work of property and product photography. Alas, they are in short supply around here so it had to go back post haste.
       
      My overall impression is that it is quite an impressive machine. It offers the photographer a lot of very cool features, excellent customisability and ergonomics. It is a specialist camera, however, and as such I think that the intended market for it is going to be a hard nut for Olympus to crack, especially given its lack of high ISO performance, which is something the sports photographers demand.
       
      If you’re a day shooter or you shoot action in well lit arenas then the advances this machine brings in terms of auto-focus and customisability, plus the sheer plethora of outstanding MFT lenses available for the system makes it a very attractive option, especially for those who travel a lot for photography. You get the ruggedness, heft and weather proofing of a pro body and the lightness and compactness of much smaller lenses.
       
      For me personally I would love one, after all I got more keepers on this most recent safari than in all the 10 years of safaris preceding it, but… there is the matter of that eye-watering $3000 price tag to consider. With the recent firmware upgrade to the E-M1 Mk II now bringing its feature set closer to that of the X, it is going to be much harder for Olympus to pitch this camera at the wider market and existing MFT users with that price tag. If it were closer to $2000 I might be a lot more interested in buying one.
       
      My final advice? If you want the very best camera that MFT can currently offer you for stability, video features, ruggedness, crazy feature set and customisability, get the E-M1X. If you are expecting par performance with a 35mm pro camera for low light, rather save $1500, wait for the sensor technology to improve and get the E-M1 Mk II for now.
    • Dallas
      By Dallas
      Olympus South Africa very kindly loaned me an E-M1X for my recent Photo Safari to Sabi Sabi and while I only had a few days before leaving on the trip to become accustomed to the camera, I did manage to produce some great images (by my standards) while using it in conjunction with the Olympus 300mm f/4.0 PRO.
       
      The first thing that struck me about this camera when taking it out of the box is the sheer size of it. It is huge. If you’ve been using Micro Four Thirds bodies to get away from the bulk of traditional DSLR’s then you will not want this camera. I was quite shocked at its size initially, especially when compared to my gripped E-M1 (original) which I have been shooting since 2014. The Nikon D5 is only 15mm bigger in terms of depth, height and width all around, so for a small sensor camera to be so close in size to a flagship 35mm camera begs some serious questioning of the makers.
       

      Side-by-side view of the E-M1X and the original E-M1 with its grip
       
      So why did Olympus make this camera so big? When you begin handling it the answer falls into place. It’s designed for sports and action photographers who are used to the speed and heft of cameras like the Nikon D5 and Canon EOS 1D series. That’s the user market Olympus are targeting with this machine. It feels substantial in the hands and the ergonomics are such that if you’re used to a bigger camera, moving across to the E-M1X will be much easier for you to adapt to, especially since the Olympus is so highly customisable that you could easily set it up to pretty much emulate the ergonomics of your big DSLR. Well, maybe not the Canons which often require simultaneous button presses to activate certain things, but most certainly it would be easy for a Nikon shooter to make the change.
       

      Not much in it, dimension wise, is there? 
       
      So we now have a giant MFT camera that feels like a Nikon D5. Why didn’t they do what Panasonic has done and make a bigger sensor too? Good question. Why stick with MFT sensors if you want to attract the sports and wildlife shooters of the world? This is where the concept of MFT begins to make sense. The main advantage to be had when shooting this small format as opposed to 35mm is that MFT lenses are comparatively diminutive. For example, on my safari I packed in the Olympus 300/4.0 PRO as well as my older 50-200/2.8-3.5 SWD and a third un-gripped body with the Olympus 12-100/4.0 PRO. I also had the Pan/Leica 8-18mm lens in my bag because I wanted to make some photos of the lodge while I was there. Those items I took as a carry on in the ThinkTank Airport Advantage roller and while the bag was not exactly light once my laptop and other peripherals were in it (about 15kg total), had I wanted a similar focal range shooting a 35mm system, I would have had to pack a 600mm f/4.0, 200-400mm f/4.0 and a regular camera with professional wide angle and ultra-zoom lenses. There is no way you could take that as a carry on with 35mm, so you’d have to bring a hard case and pay for the extra baggage. You then also have the added stress of wondering if your precious gear will make it to its destination. Having been in this exact situation many times before moving across to MFT from Nikon 35mm I know exactly what the challenges of travelling with large lenses and heavy gear are.
       

      This is the gear I took on the safari in the ThinkTank Airport Advantage.
       
      Conversely travelling with MFT is easy. Even with the giant E-M1X body, the space and weight savings of the incredible Olympus PRO and Panasonic/Leica lenses is a Godsend. Also consider the additional overhead of having to bring along a support system for your big 35mm glass because I doubt you’re going to want to hand hold a 600/4.0 lens if you’re going on a photography trip where such a lens is wanted. You’ll also need to pack a monopod and probably a gimbal head too. MFT systems like Olympus don’t require any support other than your hand, even when shooting the 300mm f/4 PRO. The IBIS and lens IS combine incredibly well.
       
      Given its considerable girth, for the E-M1X to make sense as a photographic tool that is intended to win over 35mm users it also needs to have some other things going for it. It will need to have seriously fast and accurate auto-focus, plus it will need to offer decent image quality in low light. This is where things get interesting. Read on!
       
       
      Auto Focus
       
      I’m not a back-button focus photographer. I can understand the principle behind this method and I have tried it a few times, but I have been using single point AF-S for so long that trying to change that deeply ingrained behaviour is really hard for me. I’ve also never set up any of the cameras I have ever owned to work in AF-C mode with any degree of success, so I tend to stab at the shutter button rapidly to keep slow moving things in focus (it’s very rarely that I will find myself photographing fast moving subjects). This method has worked for me for quite a long time now. So when I started reading the autofocus section in the E-M1X manual (which itself is a gargantuan 680-odd pages long in just English alone!) I was staggered by the array of setup options for the AF system of the E-M1X. I simply didn’t have enough time before my safari to comprehend all the options it offers, let alone try them out in practical situations.
       
      As mentioned I always set up AF to use a single point in AF-S mode and I recompose once I see the green dot. I don’t use the grouped points, so for me learning something as sophisticated as the AF system on the E-M1X is going to require a specific set of applications, which currently I don’t have in my work. For people who shoot birds in flight, aviation, motorsport and fast action sports such as soccer, ice-hockey and the like, this is probably going to be a winner, especially since they have built in subject recognition for certain things like cars, trains and planes. Apparently these subjects will be added to in firmware as they build up better data on new ones. I can imagine that leopard detection might be a thing in the future.
       
      One feature that I didn’t try but thought was interesting is the Len Focus Range. This setup allows you to define the distances that the AF system should work in. It basically allows you to tell the camera not to focus on objects that are a certain distance away from you. For example, if you are shooting a sport like boxing or ice hockey, you could set this up to avoid focusing on the ropes and/or plexiglass between you and what you’re trying to shoot. Some lenses will have these limits built in, but with the E-M1X you can specify exactly how many metres you want to work within.
       
      Another thing I liked about the X is that you can assign the Home position for the single AF point to be in a different position when shooting in the portrait orientation. This is really handy for events when I find myself having to shift the AF point between shooting people at a podium and then switching to the audience in landscape orientation. Very nice feature.
       
      What I can tell you about the AF system as I used it, is that it’s reassuringly lightning quick and accurate for the wildlife subjects I was photographing. There’s no hunting unless you miss a contrast point, like all cameras I have ever tried. Focus is almost instantaneous, even when subjects are not so close.
       
      In summary, I don’t think that anybody coming from 35mm will be disappointed with the AF capability of the E-M1X. If anything they might be pleasantly surprised given the sheer array of options available to control how the system works.
       
       

      Wildebeest in the misty morning, no problem with auto focus here in spite of the grass
       

      Using my "repeated stabbing" AF technique I managed to get a moderately sharp image, but I reckon had I used the camera's AF-S mode here the shot would have been better. 
       
       
      Speed
       
      One of the biggest advances Olympus made with this camera is the CPU speed. This is a very fast camera in terms of how quickly it processes and reads off data from the sensor. It’s so fast that you can do sensor shift high resolution images handheld. I didn’t really try this out properly, plus Lightroom can’t read the resulting .ORI files so the handful of shots I did take with this mode active, I have to process in Olympus Workspace, which I am completely new to. Sorry! As such I can’t formulate an opinion right now on how useful it is based on such a small sample of images, but what I can say is that on stationary subjects I think it can work quite well. I’d love to try it out in studio doing product photography, but I think there might be some issues syncing it with studio strobes.
       
      Getting back to the intended sports user of this camera, there is the not-so-insignificant Pro Capture mode to consider as a lure for the photographers who want to simplify their lives and get great action every time. Basically with the mode active the camera writes continuously to the buffer while you are holding the shutter button halfway down. As soon as your critical capture moment arrives you trip the shutter and the camera will record whatever it has currently in the buffer to the card(s). This is kind of like shooting fish in a barrel really, especially if you have the patience to sit with your finger on the trigger waiting for a bird to take flight. You can’t miss the shot. Unless you’re like me and you get tired of waiting and the bird chuckles at you as you put down the camera just before it flies away.
       

      I'll settle for stationary birds
       
      On the subject of Pro Capture, this mode is set by changing the drive mode in Super Control Panel (SCP). However, the thing is you may (like me) forget to switch this back to a regular drive mode after failing to record the wretched lilac breasted roller taking off, and then at your next sighting you will end up with dozens of images of a stationary buffalo. Or worse still, you’ll be wanting to shoot a sequence of something happening, but after you accidentally trigger Pro Capture you will have to wait for the camera to write its buffer onto your card. If you have a not-so-fast card like me this could be a few seconds, followed by several more trying to remember where to switch off the Pro Capture mode. Ideally I’d love to be able to have Pro Capture activate by holding down a custom function button together with the shutter button. A Fn button on the PRO lenses would be an ideal setup for this pretty cool feature. While I had the E-M1X I couldn’t see a way of being able to assign that particular feature to any of the custom function buttons, so hopefully Olympus’ engineers will read this criticism and work out a way of doing it in future firmware upgrades. I did manage to set up a quick switch between normal and Pro Capture by using the Custom Modes, but that requires remembering to change modes between sightings. Duh.
       
      Regarding Custom Modes there are four of these that are assignable to the PASM dial, so if your memory is better than mine you can set up each custom mode for a different type of shooting simply by changing the mode. However, you’re going to have to have a Gary Kasparov like mind because the sheer number of custom settings on a camera like the E-M1X is mind-boggling. There are pages and pages and more pages of custom settings in the menus and if you’re not used to the way Olympus does menus, you’re either going to go stir crazy or require a lot of patience (and batteries) to get the better of it all. It’s not insurmountable though and experienced Olympus users will probably be able to set up their custom modes quite easily after a few weeks with the camera in the field.
       
      One thing I really liked about the X is that there is a Custom Menu area where you can save up to 5 pages of menu items that you regularly need to access. Storing an item in there is as simple as pressing the Record video button while the item is selected in the menu. That’s a very big plus for me and goes a long way towards personalising the Olympus menu system.
       
       
      Stabilisation
       
      The IBIS and lens IS combine in the E-M1X to create an extraordinary amount of stabilisation. I was using the 300/4.0 PRO on this body almost exclusively for the duration of our 7 days in Sabi Sabi and occasionally I would shoot birds sitting on nearby branches. When I do my focus and recompose technique the subject does what I can only describe as a “moonwalk” glide from one part of the frame to the other. There is absolutely no camera shake at all handheld, which when you consider that you are using a 4.1˚ angle of view is bonkers! Olympus claim a 6 stop advantage in handheld photography and I have no doubt that this is true. Given my sloppy technique this is yet another Godsend to make my images look much better than they should.
       

       

      Stabilisation with long lenses is incredible.
       
       
      Battery
       
      Battery life was pretty decent. The camera comes with two batteries and typically I only exhausted about 50% of the one each day. Granted I don’t shoot as much as everybody else. On this safari I took a total of 1726 images with the E-M1X, averaging 288 per day. So, assuming I were to exhaust both batteries in a day I would be able to shoot over 1000 frames before having to recharge them.
       
      However, it is also possible to charge the camera via USB-C, so if you did get trigger happy enough to shoot that many in a day on safari, you could recharge from a  power bank between sightings. Or just buy more batteries.
       

       
       
      Low Light
       
      Right, this is where the rubber hits the road as far as getting 35mm power-users interested in switching to MFT. I’ll say it at the outset, I was disappointed in the low light performance of the E-M1X sensor.
       
      For starters, it doesn’t seem possible to be able to set Auto-ISO to go above 6400 on the X. None of the expanded ranges are available when using the auto mode while shooting RAW, which I think is just silly. This is how I shoot these days. I always use Auto-ISO. On the original E-M1 I sometimes let this go as high as 12800 and while the images may appear grainy they have a certain film-like charm to them. You can’t do that on the X. You have to set ISO 12800 or above manually.
       
      As far as graininess goes, 6400 on the E-M1X is very grainy and there is also a major loss of colour fidelity. To be honest I was expecting much better performance from the sensor at high ISO, so for me this is a deal breaker. Since the camera is intended to compete against the likes of the Nikon D5 and Canon EOS 1D series (where higher ISO is a forte), it sadly falls well short in this area.
       
      Having said that, I think that if you buy this camera and invest some time in learning how to deal with the grain and colour issues in post production you could probably get some very good results.
       

      Shot at ISO 6400, you can see the grain in the background, plus there has been a general loss of colour saturation.
       

      But then in good light you'll get rewarded.
       

      Gorgeous colours from the Olympus. No adjustments in post.
       
       
      Cool Things I Liked
       
      The sound of the mechanical shutter is really soft. It’s a lot quieter than my old E-M1 and if you are in the business of shooting in quiet places (churches, meetings, etc) you may not even have to switch to electronic shutter and risk the rolling effects thereof. It’s nice and quiet.
       
      I really appreciated the built in GPS and weather sensor on the E-M1X. This camera will tell you what the barometric pressure, altitude and ambient temperature was on every shot you take. I wish Lightroom would pick up those EXIF fields, alas you have to use the Olympus Workspace software to read them.
       
       
      A Couple Of Nit Picks
       
      There are a couple of things that I didn’t like, most notably there is no loop for a grip strap in the base of the camera so you would have to put a plate onto there to accommodate one (I used the Peak Design Clutch with its little plate). That seems like a daft omission to me because the moment you have to put a plate on the grip you lose the comfort of shooting with it in portrait mode.
       
      I was also a bit disappointed with the EVF. The refresh rate and colour was all good, but it just seemed to lack a bit of bite. The EVF on my old original E-M1 seems sharper to my eyes, which is a little weird. I did try adjusting the diopter a few times, but it didn’t seem to improve things. It could have been a contrast setting in the menus that I missed?
       
      The one thing I really don’t like (and I have expressed my dislike of this before) is the flip out LCD screen. This is something video producers want, but as a stills photographer I truly don’t want this as it’s a very weak point of the camera just waiting to snap off in the right circumstances. I much prefer the tilting screen of the original OM-D’s. Olympus should make it an option for this kind of premium camera: which type of LCD screen would you prefer, Mr. Customer?
       
       
      Conclusion
       
      I wish that I could have kept the camera for just a little bit longer as there are many other areas I would have liked to explore its performance in, especially my daily bread and butter work of property and product photography. Alas, they are in short supply around here so it had to go back post haste.
       
      My overall impression is that it is quite an impressive machine. It offers the photographer a lot of very cool features, excellent customisability and ergonomics. It is a specialist camera, however, and as such I think that the intended market for it is going to be a hard nut for Olympus to crack, especially given its lack of high ISO performance, which is something the sports photographers demand.
       
      If you’re a day shooter or you shoot action in well lit arenas then the advances this machine brings in terms of auto-focus and customisability, plus the sheer plethora of outstanding MFT lenses available for the system makes it a very attractive option, especially for those who travel a lot for photography. You get the ruggedness, heft and weather proofing of a pro body and the lightness and compactness of much smaller lenses.
       
      For me personally I would love one, after all I got more keepers on this most recent safari than in all the 10 years of safaris preceding it, but… there is the matter of that eye-watering $3000 price tag to consider. With the recent firmware upgrade to the E-M1 Mk II now bringing its feature set closer to that of the X, it is going to be much harder for Olympus to pitch this camera at the wider market and existing MFT users with that price tag. If it were closer to $2000 I might be a lot more interested in buying one.
       
      My final advice? If you want the very best camera that MFT can currently offer you for stability, video features, ruggedness, crazy feature set and customisability, get the E-M1X. If you are expecting par performance with a 35mm pro camera for low light, rather save $1500, wait for the sensor technology to improve and get the E-M1 Mk II for now.

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