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Marilyn Armstrong — Seeking Intelligent Life on Earth

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The Olympus E-P5, is it worth it? — ATMTX Photography Blog

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ATMTX Photography Blog

I mentioned on last Friday’s post that I thought the E-P5 was Olympus’ take on Fujfilm X100S. — the retro style, the packaged 35mm prime (34mm to be exact) lens and the premium pricing to match. My friend Mike aptly says it’s closer to a Fuji X-E1 because of the interchangeable lenses. Even though the X-E1 does not yet off a 35mm equivalent, he has a good point. Either way, it seems like Olympus created an upscale camera that echoes cameras of a bygone era. The big question is, is it worth the premium price?

I’ve been busy with my, yet unannounced, equipment changes so I really didn’t look into the E-P5, until today. I knew I wasn’t going to get one any time soon. After all, I already bought an E-PM2, late last year and the image quality should be the same. But what if I didn’t get the E-PM2? Would it make sense to buy the E-P5? As I already mentioned, it’s pretty much the camera I wanted last year — it has most the features on my wish list.

First, let’s compare the E-P5 vs. the OM-D E-M5. The two cameras mostly share the same feature set. Sure the body style is different, but they both have the same sensor, same image processor, the roughly the same 5 axis image stabilizer and the same speedy focusing system. You lose the water resistance and the EVF (Electronic View Finder) on the E-P5 but gain WiFi, 1/8000s max shutter speed and a faster 1/320s flash sync speed. The OM-D body is $999, the same price as the E-P5. However, keep in mind that the body-only E-P5 doesn’t come with an EVF. Bought separately, the EVF costs more than $200. So effectively, the E-P5 body is sold at at least a $200 premium.

Second, the E-P5 replaces the E-P3 introduced in 2011. The E-P3 with the standard $100 kit lens ran $899. Subtract out the kit lens and a fictional body-only E-P3 configuration should run $799, again $200 lower than the E-P5 body-only price.

Third, assuming you support my premise that Olympus is competing against the Fuji X100S with the 35mm equivalent lens, consider this. The Fujifilm X100S is priced at $1299. The Olympus E-P5 with the 17mm lens (34mm equivalent) and the EVF is packaged at $1499. Now, despite the retro look of both cameras, they are very different beasts. Direct comparisons are a bit of a stretch, but let me try. On the plus side for Fuji, you get a very good hybrid optical/EVF, arguably better image quality, true analog exposure controls and an attractive well designed body with a seamlessly integrated viewfinder. The E-P5 has the advantage of a world-class in-body image stabilizer and the flexibility of interchangeable lenses. People can quibble of the price but I believe the two cameras should be priced the same. Certainly, I find it hard to justify a $200 premium over the X100S.

My conclusion, the Olympus E-P5 is overpriced by $200. The body only price should be $799 and the kit price should be $1299. Still expensive, but it makes sense based on the competition. So is the camera worth it? Only you can answer that question, however, if I were in the market for an Olympus, I wouldn’t pay $999 for the body or $1499 for the kit. So despite my fondness for Olympus micro 4/3, I can’t recommend the E-P5 at the current price.

I also predict that the prices will fall fairly quickly. Olympus will inevitably have a $200 rebate or just reduce the price. No guarantees of course, but that’s been Olympus’ pattern over the last couple of years. What do you think? Is the E-P5 worth it to you?

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There’s always something new …

Just when I thought it was safe, that I have every camera I could ever want, out comes the new Olympus E-P5. There’s some kind of law that as soon as I buy the camera I’ve finally saved up for, out comes the next generation that’s got all the nifty features I hoped to see.

Olympus E-P5

Actually it isn’t coincidental. I wait until the price on the equipment I want drops before I buy it. The price drop nearly always signals the imminent release of a new generation of equipment, or at least a new model. So I’m likely to remain at least a generation behind in camera technology.

That’s what happens when one lusts for the coolest newest stuff, but don’t really have the money to buy it. Moreover, I have nothing more than the flimsiest excuse to get another camera, even with my rationalization engine turned up to full. Lucky for me there isn’t much the P5 is offering that I don’t (more or less) have with the P3/PM2 combo. So it’s lovely, but I can resist it.

On the other hand (trumpets and a drumroll) … the new Panasonic (Leica in all but name) LUMIX DMC-LF1 was announced this afternoon. She’s lovely, scheduled for delivery in June. Just a few short weeks from now.

Lumix DMC LF-1

Lumix DMC LF-1

It’s got a built-in (be still my heart!) optical viewfinder, shoots in JPG or RAW, has a fast Summicron F/2.0 medium-long telephoto lens. At $499, it is almost affordable. Could this be the perfect do-it-all camera for which my soul yearns?

LUMIX DMC LF-1 (back)

I have a longstanding policy of never buying a new model of anything  (cars, cameras, computers, software) until I’ve heard from regular users, not the PR spinners. I want to feel the love before I start hoarding my pennies and quarters.

Since it won’t even be available to regular users until next month, I figure it will be a while before feedback starts coming in. There’s a strong possibility by the time I might be able to afford it — assuming I hear really good things about it — my computer will stop having intermittent seizures and quit working entirely, ending any chance of getting another camera no matter how wonderful.

Somehow, I think I’ll manage anyhow.

It’s new, better, exciting, cool. But if I miss it, there will be another — and another after that.

Because there’s always something new on the way. Trust me.

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How come you have so many cameras?

This is a question that every photographer, professional or amateur, periodically asks him or herself … and is inevitably asked by friends, family, and occasionally, complete strangers. My answer is 7, plus the iPhone (on which I’ve never actually taken a picture) and a Coolpix that I don’t like and never use — which I guess totals 9. I am not counting cameras I used to own but gave away … or which I have somewhere in the house, but who knows where?

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The little pocket-sized Canon Powershot S100 is my go everywhere favorite. Light and compact, with a good quality, fast, versatile lens, I carry it in my purse. It is the camera I always have with me so it gets a lot of use, even in situations where another camera would do a better job. This is the camera that embodies the maxim “The best camera is the one you have with you.” Technically, I guess I also have my iPhone S4, but I don’t consider it a camera.

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The heart of my gear are my Olympus PENs — the PL-1, E-P3 and now the PM2. These are the cameras I use when I am planning to shoot and want the best quality. As part of the mirrorless micro 4/3 set, I also have a Panasonic Lumix DMC-GF3 I bought because it came with the 14mm f/2.8 lens and ironically, it was cheaper to buy the camera with the lens than to buy only the lens. It’s not a bad camera, but it is definitely there for backup and not as primary shooting gear. It has the advantage of being small and light and the same format as the Olympus PENs.

I picked up the Olympus 800UZ on sale when I wanted  a really long telephoto zoom. I live in the country in a river valley and this camera is particularly useful to get pictures of birds far across the pond where nothing else I own could possibly grab the shot.

The battle is on, but I do not think it went well for the swan.

Fully extended, it is 830 mm — a very long lens. Shooting with an extremely long telephoto lens is problematic, but this is even more of a problem because it is difficult to focus. Part of the issue is that fully extended, even the tiniest movement is greatly exaggerated and makes focusing impossible. I have to brace my arms against something solid or I can’t get any picture and sometimes can’t even find my subject. Nonetheless, it is the only camera I own that will capture really distant shots. It’s not a camera I use often, but it has a specific uses. It was a lot cheaper to buy the camera with the super zoom than to buy a very long lens for the PENs.

I also have a Canon Powershot SX260 HS. It too has a super-zoom, but not as extreme. It won’t capture swans and geese at the other side of the pond, but it will catch musicians at the far end of the concert hall … even in dim light. It’s easier to use and much faster focusing than the 800UZ.

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For the joy of photography, my favorite remains the Olympus PEN E-P3. I use it most often paired with the “portrait” 45mm F/1.8 lens, a fine portrait lens, but also great for artistic shots of flowers, foliage, dogs, and people in general. The shallow depth of field makes ordinary shots look like art. It’s not me. It really is the lens.

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I usually keep the 14mm F/2.8  Lumix lens on the Olympus PEN PM2 and the 40-140mm on the oldest of my PENs, the Olympus PEN E-PL-1. The Panasonic DMC-GF3 doesn’t get a lot of use, but I put the “normal” 14-42mm Olympus lens on it in case I have a “normal” lens emergency. I find it easier and faster to swap cameras than lenses, so having  bodies on which I can put different prime lenses may look more complicated, but for me is actually a simplification.

OLYMPUS DIGITAL CAMERA

I grant you it tends to add up to a lot of cameras, if you just count them and don’t recognize that there are special uses for some of them and others are there because they came as part of a package or, like the PL-1, was an original camera that I’ve kept because it’s still a good camera, if a bit old.

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Whenever I go out to shoot, I have to think hard about what I want to take with me, where I’m going and what lenses I’m likely to need. Because I won’t ever take everything … but hopefully, I’ll have what I need when I need it.

So that’s why I have so many cameras. And will probably have more eventually. How many do you have?

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Beep, ding, whirr, ping, buzz …

It’s the little things that trigger epiphanies. Those tiny moments of recognition that make me say “Oh! I see!”

A few days ago, I took my Canon S100 out of my shoulder bag where it lives. I’m very careful with my cameras. When I’m shooting, I’m so focused that unless I adhere to a strict routine, I lose stuff. As I’ve gotten older, I lose stuff anyway and I don’t want to lose any cameras, so I follow my checklist to make sure that no camera or accessory gets left behind. I pull the camera out of my bag, stuff its sleeve in my pocket, take my pictures, and put it all back. When I get home, I pop the SD card out, plug it into the computer, download the pictures, clear the card and return it to the camera. Back into my bag it goes. I know if I keep to the program, I will always have a camera near at hand. For some reason, the last time I used it, I didn’t put the S100 away and left it next to the monitor. I’m sure I had a reason, though I can’t recall what it was.

I forgot it until last night when I picked my bag and noticed how light it felt. What was missing? Ah, the camera.

“Hmm,” I said. “I didn’t realize that little camera adds so much heft to my bag.”

It was late. I was on my way to bed, but stopped in my office to collect the cordless phone to return it to its cradle in the bedroom. I noticed the camera lying on the desk. I picked up the camera and thought “Gee, I should swap the battery and charge this one. I’ve been using it a lot.” I have quite a few spare batteries. There is nothing that will ruin a shoot more completely than having a battery die in the middle and not having a replacement with you.

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I popped the battery out and went to put it in the charger. I looked at my power strip. Six chargers. Impressive for a strip that only has 6 plugs.

This being a Canon battery, I tried putting it in the first Canon charger on the strip. It didn’t fit. I tried the next but it didn’t fit there either, which shouldn’t have surprised me because it was Panasonic and this was a Canon battery, but who can read black lettering on a black charger in dim light anyhow?

There was one charger in the strip I hadn’t tried. Unsurprisingly, the battery popped right into place. I looked around and realized I have two more Olympus chargers nearby and an off brand charger whose purpose I do not recall. The chargers in this group each attach to one arm of an octopus splitter. With a wrinkle of concern, I realized I had another little camera on the way and no room for a charger. I was going to have to add another strip. I wondered where I could possibly put it. Things are getting crowded in the electrical part of the office.

Epiphany.  Bong. Whack.

I have a lot of cameras, computers, tablets, readers, telephones, printers, transmitters, routers, modems, Roku, DVD players and music making thingies. I don’t even know how many there are. I don’t even know where I’ve put them all. Or if they work. They have accumulated while my back was turned. There are all the old ones I used until I got newer ones. Then there are the back ups I never use, but have in case a piece of equipment fails. Spare telephones, extra cameras. Even a couple of miscellaneous computers.

Everything uses batteries including items that plug into a socket somewhere and most things seem to need a WiFi feed. No room is exempt, from kitchen to bedroom. We have electronic toothbrushes in our bathrooms. After even the briefest power outage, my entire house starts blinking.

Night is lit up by the soft glow of red, blue and green LEDs. It’s never fully dark or entirely silent. Everything flickers, whirrs and buzzes, beeps and dings. The telephones variously whoop, bong or play obnoxiously loud music. Even my wallpaper (the stuff on the computer, not the walls in the kitchen) makes splashing sounds as my virtual dolphins leap in an electronic sea.

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My universe collapses in the face of a power outage. Nothing works if the power’s down. I am slavishly devoted to technology and the thought of having no electricity for even a brief period makes me shiver with dread.

Everyone these days seems to have a vast quantity of electronic gadgetry, no matter what they say because nothing is simple anymore. The microwave, the refrigerator, the range and the oven are computerized. Those are merely the basics.

I had to reboot my bed the other day.

I may not in theory need so much stuff, but I can’t imagine giving anything up.  I love it all. I even love the things I don’t use, cell phones that served me well and obsolete computers or cameras which have been replaced by newer models. They are my Hall of Fame collection.

Accumulation will never stop. Garry’s new computer is on the way and who knows how many peripheral items it will spawn.

I swear this has all crept up on me, slipped into my life a gadget at a time — a computer, a modem, a router, a laptop, another computer another and another. New cameras replaced old ones and they were themselves replaced by even newer gear. New gadgets were invented and became indispensable. As technology continues to evolve, each piece of equipment will be replaced eventually by newer versions. Like virtual seasons in an endless cycle of beeping, flashing and whirring change.

Excuse me. My oven is beeping. Dinner must be ready.

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Ordinary Things – Waiting for Spring

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Still waiting
Piece of Peace Pipe
Other Gods
Home
Emmy
Through the door, into the bedroom. It’s late, time to sleep.

Marilyn Armstrong – Olympus PEN E-P3, 45 mm F/1.8

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Deep White: Shooting Snow With the Canon Powershot S100

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A snow as deep and heavy as Captain Nemo does not quickly vanish. Here are photos from the Northland. I’m not thrilled by the inconvenience, poor footing, or mud to come, but you can’t beat the beauty of a snowy rural New England landscape.

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This is the first outing for my Canon Powershot S100. The extreme brightness of sun on snow made RAW a better choice. Unfortunately, Photoshop doesn’t recognize Canon’s RAW format or at least CS5 doesn’t. I used Canon’s native software, but it’s a pain to use, klutzy, awkward, non-intuitive. It does the job, but its interface needs to go into rehab. It’s essentially unchanged since I first used it more than a decade ago. Software has come a long way; Canon needs to get with it.

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For shooting snow, RAW is better and it also helps to take your light reading on snow and not on the darker trees or sky. This lets you capture the brightness and still retain shadow and detail amidst the whiteness. RAW adds a lot of extra processing, time and labor. Whether or not you find it worthwhile is subjective. For me, it will depend on circumstance and subject matter. I often don’t use it because I’m posting online and not printing … but for snow, the difference is significant. Sunlight on snow is tricky.

I like this little camera. It produces quality pictures. It’s small, truly pocket-sized, exactly what I wanted. It does not have a super zoom, but the combined optical and digital zoom get me as close I need.

This is a convenient, quality go-anywhere all-in-one camera.

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I prefer the pictures from my Olympus PEN E-P3, probably because I prefer the color the PEN gives me and because I have some great lenses for it. You can’t match that with any all-in-one camera, even a very good one

But for convenience and general purpose shooting, the Canon Powershot S100 is great.

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I have a question for camera manufacturers: why not offer a “weather-proof” option for cameras? Every time take my camera into the rain or snow, it gets soaked. I worry about damaging the electronics. If I’m near salt water, I worry about damaging the lens. Since the technology exists, why not offer it as an option? I’d pay for it. So would a lot of other photographers.

 

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