Better ice up a cold one. It’s hot out there. But the heat is the least remarkable characteristic of Costa Rica, paling into an afterthought behind its truly exquisite flora and fauna. A natural wonderland of incredible wildlife, its inhabitants thrive in mangroves, lakes and under a lush rainforest canopy shrouded in cloud and mist.
Fog can actually be a welcome weather condition, and since England this morning was almost as foggy as this article I decided to seek out some deer, knowing that the fog, haze and mist would add a little atmosphere to the images.
There are probably more entertaining ways to spend a Sunday afternoon but this stunt display in a field in London was reasonably diverting. I had shot stunt shows before using a Nikon DSLR and the Nikkor 70-200mm f/2.8. But I knew my EM-5 had only contrast detection AF and was not really camera for shooting action. Nevertheless, there was only one way to find out how it would fair and I took it with me, along with the Olympus 40-150mm f/2.8 and 12-40mm f/2.8.
Olympus has announced another addition to its line of high-quality professional lenses. The Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro, which has a field of view equivalent to 14-28mm in 35mm format, sports a pretty complex optical formula, with 14 elements in 11 groups, 10 of which are comprised of special type of glass to reduce various optical aberrations. With its constant maximum aperture of f/2.8, the lens offers superb optical performance even at its widest aperture. In addition to having high-end optics, the lens is engineered to be both dustproof and splashproof. All this does not come cheap though – the Olympus 7-14mm f/2.8 Pro will retail for $1,299.99 when it starts shipping in June of this year.
Olympus definitely deserves high praises for its in-body image stabilization (IBIS) system in its OM-D E-M5 II mirrorless camera to shift its sensor in order to create multiple images, then merge them together to create one super high-resolution image. Thanks to this technology, the OM-D E-M5 II, which has a native resolution of 16 MP can shoot large 40 MP images. At first, this may sound like a marketing gimmick, but if you take a close look at how Olympus accomplishes this, you will be amazed by the technology. Being able to shift the sensor opens up a lot of opportunities, and if DSLR manufacturers implement this technology (which Pentax already has, with its K-3 II) and find ways to do it quickly and smoothly, it can seriously change the way we look at resolution. Let’s take a look at this technology in a little more detail and see its advantages and disadvantages.
I will be traveling out of country in April and before I leave, I have a few days to try to work on some reviews. Whether I will manage to produce a lot of content before my departure or not, I am planning to finish up the task upon my return. Lots of gear came out during the last year and having started my Sony mirrorless camera reviews, I intend to complete a few of those as well. Below is the list of gear that I currently have, which I am planning to review as soon as possible:
The introduction of the original Olympus OM-D E-M5 turned out to be a very successful move for the Japanese manufacturer. For the first time, it wasn’t just the compact dimensions or style that could lure potential customers towards m4/3 format mirrorless cameras (even though both aspects were taken care of by the slightly older PEN camera lineup), but some very impressive functionality along with all of that. Great EVF, speed (both AF and regular operation), great sensor (given its size), tons of customizable controls and impressively rugged build with dust and weather sealing turned a fashion object into a serious tool to tempt even DSLR owners. And it was still quite handsome with an obvious nod to those compact Olympus OM cameras of old. Why wouldn’t you? The OM-D E-M5 was a success. I am pretty certain the successor – version two – will be as well. At closer inspection you will notice the OM-D E-M5 II holds the same strengths at heart, but with everything slightly improved.
Have you ever traveled to the shopping mall in search of a product, only to be met by dozens of similar options to choose between? Lowest-price vs best-value, long-lasting vs quick-acting, eco-friendly vs cost-effective: we are drowning in possibilities that years ago didn’t exist. Perhaps nowhere is the epidemic of choice more prevalent than in the digital camera world today. Since I began reviewing mirrorless cameras a couple of years ago with my partner Mathieu Gasquet, I’ve been surprised by just how many models exist for each brand. For instance, in the six years since mirrorless cameras first began to appear on the market, a total of thirty-six Micro Four Thirds system cameras and nineteen Sony E-mount cameras have been released, an astonishing number if you consider that new film cameras would be released only every two or three years.
I have stated in a previous article that I probably will sell all my DSLR gear eventually, so rarely does it ever get used. Virtually all my work now is done with mirrorless m4/3 (Olympus EM-5). But I must admit to being glad that I brought my DSLR along with me to a recent trip to The Lake District and Scotland. And while I used my EM-5 for virtually the entire trip, canoeing on lakes and hiking up hills with it in a small camera bag, I knew the DSLR would be more effective at capturing the night sky. I was hoping at some point the skies would be clear enough for me to capture some stars, possibly even the Milky Way, and since I had my car bringing along extra gear was not an issue.
For many people, the main limitation of the micro 4/3 systems, while being more portable and fun, has been in capturing movement and action, owing to the contrast-detection AF system. And they would be entirely correct. While it is super fast for static subjects, the lack of effective phase detection AF, as found on DSLRs and other mirrorless systems, causes difficulty in tracking moving subjects.