Confirmed: The EM1 II is the best M43 camera

Olympus OM-D EM1 : Worth every penny?

At last cameralabs has completed its in-depth review of the M43 powerhouse which is the Olympus OM-D EM1 II and the article makes a fasinating read.

Basically tye review confirms what every other review has concluded bar none, that the EM1 II is a true and proper powerhouse camera, a genuine high performing “Pro” focussed model that on many levels can and does compete with its bigger APS-C equipped rivals.

Am getting one its just a question when.

Quick Overview of the Olympus OM-D EM1 II

The Olympus OM- EM1 II is the new high -end flagship Micro Four Third ( M43) camera body from Olympus.

The camera is equipped with a brand new 20 Megapixel Live MOS sensor that also has 121-point embedded phase-detect AF points which cover a larger area of the frame than the previous EM1. The phase-detect points are all the sensitive cross-type that work and work alongside a contrast-based system for both Single and Continuous AF. The new beefed up AF system works for Micro as well as older Four Thirds lenses plus Panasonic lenses are supported.

The in-body stabilisation system has been improved to offer a claimed 5.5 stops of compensation or a scarsely believeable 6 to 6,5 stop stabilisation with lenses that support Sync IS (presently only M.Zuiko 300mm telephoto and the new 12-100mm f4 IS PRO zoom)

Impressively the EM1 Mark II will shoot at its full resolution (including RAW) up to 18fps with continuous AF or 60fps with single AF, and deploys a dedicated quad-core processor to AF duties.

The viewfinder still uses an LCD ( as opposed to OLED) and is the same size and resolution as the one in the EM1, but now features a faster 120fps refresh and 6ms response, while the touch-screen has become side-hinged and fully-articulated.

For video joining 1080 video there is 4k UHD and Cinema4k recording at 102 and 237Mbps respectively.

Finally there’s now dual SD memory card slots, a higher capacity battery with quicker charging, and the rugged better sculptured body remains dust, splash and freeze-proof.

All in all one hell of a spec list.

Review From Cameralabs

“Good points
Best-in-class built-in stabilisation for stills and movies.
Tough weather-proof body with twin card slots and great ergonomics.
Effective continuous AF up to 18fps (electronic) or 10fps (mechanical).
High speed bursts up to 60fps, including full-res RAW (48 frames at top speed).
Very good JPEGs from camera; come close to 24MP APSC in resolving power.
Large battery for mirrorless, and quick charging too.
Great quality 4k UHD and C4k video. Flat profile option.
High Res mode generates images up to 50MP under ideal conditions.
Pro Capture mode buffers up to 14 frames prior to shutter press”.

“Bad points
No indication of shots remaining in buffer during burst shooting.
Can’t playback images while buffer is emptying (but can still shoot).
Auto ISO not available above 6400 ISO nor in Movie manual mode.
Autofocus during movies can be hesitant and inconsistent.
Timelapse movies at low frame rates when encoded in 1080p or 4k.
Articulated screen can interfere with mic, headphone and HDMI ports.
No battery charging in-camera over USB.
Sensor output not as clean as larger formats above 6400 ISO in my tests”.

From Cameralabs: Olympus OMD EM1 Mark II final verdict

“The Olympus OMD EM1 Mark II takes the popular weatherproof Mark I, deepens the grip, adds twin memory card slots and employs the most generous battery of any mirrorless camera. It improves the already amazing stabilisation, adds a minor boost in resolution and offers a cunning composite mode which under the right conditions can increase the resolving power up to 50 Megapixels.

The major upgrades though concern video and autofocus. The EM1 Mark II shots great quality 4k and Cinema4k video which work a treat with the stabilisation, while a new embedded AF system can genuinely track moving action at up to 18fps; switch to Single AF and it’ll even shoot up to 48 RAWs at 60fps. It all adds up to a supremely confident and capable camera that can capture images where others can’t, but you’ll really have to need the 4k and or burst capabilities to justify the professional price tag. There’s a lot of very compelling rivals for the same or less money. But if you’ll exploit the feature-set, the EM1 Mark II becomes one of the most powerful and desirable cameras in its class and justifies its asking price regardless of format”.

My Take:

There is VERY little realistically that Olympus could have done to improve on the EM1 II bar maybe a more resolute viewfinder (Like the one in the new Panasonic GH4) and allowing in-camera USB charging?

Image quality is as close to the very best APS-C cameras as to make no real world difference so long as you keep to sub ISO 1600 and even so higher ISO settings are still perfectly useable.

True the EM1 II isn’t cheap but the sort of performance and technolgy it packs was always going to come at a cost.

If your a current M43 user and seek the best take a long hard look at the Olympus OM-D EM1 II

January 2017


Panasonic Lumix FZ200 : A mini GH4?

Panasonic Lumix FZ2000 : Geared more towards video than stills

Panasonic Lumix DMC-FZ2000 Review Image

Online review site has completed a detailed review of Panasonic’s new high-end bridge / superzoom the Panasonic FZ2000 and their conclusions and test results are food for thought for the new camera appears to be definately aimed more towards video than still capture.

FZ2000 at a glance

  • 20MP 1″-type BSI-CMOS sensor
  • 24-480mm equiv. F2.8-4.5 lens
  • Depth from Defocus AF
  • Large 2.36M dot electronic viewfinder
  • Fully articulating 3″ 1.04M dot Touch LCD screen
  • Built-in variable ND filter
  • 4K video capture (DCI/UHD)
  • 10-bit, 4:2:2 output over HDMI

Heres a snippet of DPreviews conclusions:


  • Good image quality, especially in Raw
  • Very well-built body with large grip
  • Impressive continuous AF and subject tracking performance
  • Internal zoom lens allows for smooth and quiet focusing
  • Excellent 4K video quality
  • Numerous video capture controls
  • Built-in variable ND filter
  • Large electronic viewfinder
  • Numerous customizable controls, both physical and on-screen
  • Well-implemented touch functionality
  • Support for V-Log L gamma
  • 10-bit 4:2:2 output over HDMI
  • Handy Focus Stacking and Post Focus features
  • External battery charger included


  • Image quality hampered by mediocre lens
  • Heavy noise reduction in JPEGs
  • Yellows have greenish tint which affects skin tones
  • Substantial 1.4x crop in 4K eliminates wide-angle capability and affects low light performance
  • Basic Auto ISO functionality
  • On the bulky side
  • LCD cannot fully rotate when left-side I/O ports are in use
  • Battery life could be better
  • No support for USB charging
“The Panasonic Lumix DMC-FZ2500/FZ2000 is a well-designed enthusiast bridge camera focused on video, and it offers capture tools that you won’t find on any other camera in its class. 4K video quality is excellent, though there’s a substantial crop factor, essentially knocking out the wide end of the lens. Still image quality is decent, though it’s hampered by a so-so lens and JPEG engine that could use a tune-up. If you’re a videophile then it’s a top choice. If not, there are cheaper options out there”.
My Take:
Once again a review site has concluded that the FZ2000’s lens cannot compete with the one found in Sony’s expensive rival the RX10 III. This show just what an excellent job Sony has done with the optic in its top-end superzoom.
Up until reading Dprveiews review I’d have chosen the FZ2000 as my prefered bridge / superzoom but now am not so sure.
And that’s the stark choice potential buyers of a high-end superzoom face.
If you want the best superzoom / bridge camera on the market its the Sony RX10 III period , it offers superior image quality over its rivals but you’ll pay for that class.
However if video is your thing the Panasonic Lumix FZ2000 is the way to go.
But if value for money is your thing then as Dpreview has correctly pointed out the Panasonic Lumix FZ1000 is still available and its lens is optically superior to the newer FZ model, plus its now a fair bit cheaper.
So on the face of it you either wait a little longer save the pennies and get the Sony RX10 III or get the bargin that is the Panasonic FZ1000.
This leaves the FZ2000 a bit stuck in the middle until you consider that in many ways, video feature wise its a bit of a mini GH4?
Mark Baynham ( January 2017)

Sony RX10 Mark III reviewed

Sony CyberSot RX10 Mk 3: As good as a bridge camera gets… BUT

Sony RX10 III Review Image

The Sony RX10 Mark III is a high-end DSLR esq bridge / super-zoom camera equipped with a 20 Mp 1-Inch  sensor, 4k video, and an impressive high quality 25x / 24-600mm zoom.

The “older” mark 2 RX10 remains on sale whilst the “newer” camera retains many identical features ie the 1 inch stacked sensor with super-slow-motion video, 14fps continuous shooting,  2.3 million dot 0.7x electronic viewfinder and 3- inch 1.3 million dot rear screen that for some unfathomable reason remains a non touch-screen type.

In reality its the RX10 III’s lens that really sets it apart from its predecessor, with a three-fold increase over the 200mm telephoto coverage of the earlier RX10 Mark I and II. The maximum aperture is also a little brighter at the wide angle setting – f2.4 compared with f2.8 on the earlier models, but the big increase in telephoto focual length means the Mk III no longer enjoys a constant f2.8 focal ratio and the lens closes to f4.4, at the long-end. The lens gains a third control ring (handy) but for some strange reason loses the built-in ND filter of earlier versions.

This new RX10 version retains the Mk 2’s robust weather resistant build, but gains one hell of a significant price hike in the process making it by far the most expensive bridge / super-zoom on the market.

On-line review site Cameralabs conducted a full and detailed review of the Sony RX10 III and here’s some quotes and thoughts:

From Cameralabs:

” The biggest competition for the RX10 III is the less expensive Lumix FZ2000 / FZ2500. It’s similar in very many respects to the RX10 III, with a 20 Megapixel 1 inch sensor, a slightly bigger electronic viewfinder with the same resolution as the RX10 III, a 3 inch fully articulated touch-screen and a broadly comparable (but not the same) range of video modes with 4K 25p plus Cinema 4K at the top.

But if you’re having trouble deciding between these two models there’s also loads to differentiate them, starting with their respective lenses. The Sony has a 25x zoom starting at the same 24mm wide angle as the FZ2000 / FZ2500, but extending a bit further to 600mm equivalent compared with 480mm. It’ll get you just that bit closer in to distant subjects. The Sony lens is also a little bit brighter at f2.4-4 compared with f2.8-4.5 on the Lumix.

One other important difference is that the Lumix FZ2000 / FZ2500 lens now incorporates a pair of neutral density filters allowing you to reduce the amount of light it transmits by up to 64x in 2 stop increments. Interestingly, though the earlier RX10 II had a built-in 3x ND filter it’s been dropped on the latest Mark III. One thing in the RX10 III’s favour though is that its lens has a smallest aperture setting of f16 compared with f8 on the FZ2000 / FZ2500, what’s more, the Sony lens has a dedicated aperture ring which can be configured for stepped or smooth operation.

The screens are the same size and similar resolution, but the RX10 III’s screen can only tilt up or downwards whereas the FZ2000 / FZ2500’s panel is side hinged and can face in any direction including forwards which can be invaluable for video recording. More importantly, the Lumix FZ2000 / FZ2500’s screen is now touch sensitive, allowing setting of the AF area with a tap, silent control of movie exposure and much more.

Both models provide full PASM exposure control for movie recording, and exposure can be adjusted silently during recording using the FZ2000 / FZ2500’s touch-screen (which can also be used to adjust focus) or with the RX10 III’s stepless aperture ring. The new zoom buttons and the internal structure of the FZ2000 / FZ2500’s zoom provide better control of zooming for slower, smoother, and steadier results.

Both models are fairly evenly matched for continuous shooting speeds using their mechanical shutters, but the FZ2000 / FZ2500 cleverly exploits its sensor to deliver 4K photo modes offering not just 30fps continuous shooting at 8 Megapixel resolution, but post-focus and focus stacking modes.

Both models feature built-in Wifi and the Sony also has NFC so you can tap it with an NFC-equipped android phone for a quick connection. Other than that both offer quite similar Wifi features in terms of remote control and image transfer, though you can extend the RX10’s capabilities with downloadable apps. Battery life is significantly better on the RX10 III and you can charge the RX10 III battery in the camera over USB. Both camera’s offer a high degree of customisation, but the FZ2000 / FZ2500’s touch screen gives it and edge with programmable touch buttons in addition to the physical ones.

Depending on where you shop, the Sony RX10 III is around 30 percent more expensive than the Lumix FZ2000 / FZ2500. For many people that will be enough to swing it in the FZ2000 / FZ2500’s favour, given that these two models are closely matched in many respects and the Lumix FZ2000 / FZ2500 is ahead in some areas, namely a wider selection of movie modes, fully articulated touch screen, slightly bigger viewfinder, better continuous shooting and better zoom control on the lens. The thing that pulls you back to the RX10 III is the lens, not just the longer range but the quality which outperformed the Lumix FZ2000 / FZ2500 in my tests. The Sony is also officially weather-sealed and supports more professional audio connectivity accessories.


My Take:

Cameralabs have summed it up perfectly. The Sony RX10 III’s lens is optically superior ‘to that on the Panasonic FZ2000 and its body is weather sealed but in other respects (ie fully articulated touch screen, bigger viewfinder and more varied video features) the FZ2000 has the upper hand and in the process also happens to be a fair bit CHEAPER.

Sure the RX10 III’s new lens should in theory deliver slightly superior image quality over the FZ2000 but in the real world the differences are not hugely significant althought from what I’ve seen they do exist.

Personally I’d be hard put to justify the outlay for a RX10- III, yes its the best bridge camera / super-zoom on the market but the Panasonic FZ2000 is 80% of the RX10 III for a fair bit less cash.

If the RX10 III’s rear screen was a fully articulated touch screen and if it re-aquired a ND filter I think I’d fully recommend the RXD10 III even at its current retail price. But for the time being I’d suggest the Panasonic FZ2000 is the more pragmatic purchase.

Mark Baynham ( Janauary 2017)

Panasonic GX800 Review

Panasonic Lumix DC-GX800 Review thumbnail

From Photography Blog UK:

“If you’re looking for something to act as a step up from your mobile phone camera, something like the Panasonic Lumix DC-GX800 would make an excellent choice. It’s nicely small so you won’t feel like you’re having to lug around a huge camera with you all the time, but the improvement to your images will still be very noticeable – even if you just stick with the kit lens at first. 

The GX800 is very user friendly, with just the right mix of dials and buttons so as to be easy to operate without overwhelming those new to the system. Being able to use the screen to set the AF point, flick through images and make changes to settings also makes the transition from a mobile phone to a “proper” camera all the easier. 

Panasonic has said that the GF and GM lines will no longer continue in a bid to simplify the line-up and make it easier for consumers to understand. That makes a lot of sense, and you can now join the GX range, picking one from the three currently available (GX800, GX80 and GX8) to suit your needs and preference. 

On the other hand, if you were a fan of the tiny GM series, which still managed to fit in a small viewfinder, you may lament the lack of one for the GX800 – as well as the lack of option to add one externally. That said, if you are moving up from a mobile phone, or possibly compact camera, the likelihood is that you won’t particularly miss this way of composing. And if you do, take a look at the excellent GX80 – Panasonic’s idea to provide different cameras at different levels is exactly for reasons such as this. 

The GX800 is also currently the cheapest of the three GX line models available. While that makes it the cheapest of Panasonic’s “current” compact system cameras, it’s still a reasonably hefty investment, especially for a first-time option. It’s likely that pricing will drop over the next few weeks though. If you’re on a stricter budget, you are likely to still be able to pick up some of Panasonic’s older cameras, especially in the GF line – which are still worth a look – at a lower price. 

Image quality is great in a variety of different situations – just stay away from the very top end of the ISO settings if you can help it. The kit lens is a good lens to get you started, but the flexibility to buy others if you want to is something you don’t get with premium compact cameras, and is appealing for those who think they might get a bit more serious down the line. The rating for image quality is based on using the Panasonic GX800 with the kit lens – you can get even more from the camera’s excellent sensor if you invest in additional, higher quality optics”. 

January 2017

Another EM1 II Review : Another star for Olympus

Olympus OM-D EM1 II Review

Online review site Ephotozine has published its complete Olynpus OM-D EM1 II review and once again like everyone else they conclude that the EM1 II Powerhouse is a winner, all be it an expensive one.

Olympus OMD EM1 II Key Features:

  • 20 megapixel Micro Four Thirds CMOS sensor
  • 5-axis Sync IS – sensor and lens based IS for 6.5 stops
  • 200,000 shutter life rating
  • 15fps continuous shooting with mechanical shutter
  • 18fps continuous shooting in raw with C-AF (Silent mode)
  • 60fps continuous shooting in raw with fixed AF (Silent mode)
  • 121 AF points (all-cross type) covering 75% vertically, 80% horizontal
  • TruePix VIII – double quad-core image processor
  • 3inch vari-angle touch-screen, 1037K dots
  • 2360K dot, high-speed (120fps, 6ms) electronic viewfinder, 0.74x magnification
  • ISO200 – ISO25600, Low (ISO64) also available
  • Updated menu system (see below)
  • New battery with fast charging, and 1720mAh rating
  • Improved noise performance by 1 stop
  • 50mp / 25mp high-res shot mode
  • HDR in-camera, Live Time, Live Composite shooting
  • Weather-sealed
  • Dual SD card slots – UHS-II (slot 1)
  • USB3 Type C connection, Wi-Fi

From Ephotozine

Olympus OM-D E-M1 Mark II Verdict

“If you want the fastest possible camera then the high price of the Olympus OM-D E-M1 Mark II may be justified, as it is, without doubt, an excellent camera, capable of producing excellent images. For those that need or want high-speed shooting, the E-M1 II offers the ability to shoot up to 60fps at full resolution, and offers a Pro-Capture mode to shoot before and after pressing the shutter release button. This gives you even more chance to get shots you would have otherwise missed, giving you a potential edge over other photographers. It also gives you the added disadvantage of having hundreds of shots to go through, as with other cameras capable of shooting hundreds of shots in quick succession.

However, the Olympus OM-D E-M1 Mark II is the first professional solution to offer 60fps, full-resolution raw-shooting, with up to 49 shots possible. You can take more continuous shots when shooting at lower speeds, and by using JPEG instead of raw. It’s also the fastest stills camera in it’s class, with only the new Panasonic GH5  coming close, offering 6K photo at 30fps with a resolution of 18 megapixels.

The Olympus OM-D E-M1 Mark II offers excellent handling, with a well-designed camera body with numerous external controls and button. The camera supports UHS-II cards (slot 1 only), is weather-sealed, offers an excellent electronic viewfinder (EVF), and a very good vari-angle touch-screen.

The sensor gives 5.5 stops of image stabilisation when used with the 12-40mm f/2.8 lens, or up to 6.5 stops when used with the new 12-100mm lens. This aids both stills photography, as well as video recording, making it possible to record images that would normally need a tripod, as well as record professional looking video without the need to invest additional money in a stabilisation system.

Olympus has been working on the menu system, and we have been asking for this for a while now, so we welcome the news, but we can’t help but feel that they have taken 2 steps forward and 1 step back (or the other way round). The custom settings menu has now been organised into different sections, but the colour coding is now missing, and the layout of options and controls is still as much a mess as it was on previous cameras. There’s built-in help, but this doesn’t always help, and Olympus are a long long way off implementing a menu system as easy to use and navigate as found on cameras like the new Panasonic GH5

You’re also going to need to customise the camera to get it setup so you can quickly access your favourite settings and controls, although thankfully the camera gives numerous customisable buttons and dials.

Olympus has a history of improving cameras over time with firmware updates, with the E-M1 Mark II already this good, we can’t wait to see what future firmware updates will bring. Hopefully, some updates will improve the menu system as well.

Without doubt the Olympus OM-D E-M1 Mark II offers an impressive array of features*, including excellent image quality, a unique 50mp shooting mode, Cine 4K video, excellent 5-axis image stabilisation, up to 60fps continuous shooting, dual SD card slots, weather-sealing, access to a wide variety of Micro Four Thirds lenses, a high resolution electronic viewfinder (EVF), a tilting touch-screen, improved battery life, and more. However, it’s up to you whether you have the budget to spend this much on a camera. If you do, then we think it’s well worth the money.

For those that want to shoot high speed, then the Olympus is excellent, producing excellent image quality, with great JPEG images straight from the camera as well. You can get more out of processing the raw files yourself, but for the most part you shouldn’t need to with this camera, and that will be extremely useful when you’ve got hundred or thousands of images to go through”.

My Take:

I’ve read half a dozen OMD EM1 II reviews so far and they have all concluded that not only is the Olympus’s new Micro Four Third (M43) flagship model currently the best M43 model available but that its a top-end pro focussed camera period.

The new Panasonic Lumix GH5 will trump (by some margin) the EM1 II’s video capacity and maybe offer similar or near identical image performance but I doubt it will be able to match the EM1 II’s overall perfomance and in doing so I’d guess the EM1 II ends up being a more rewarding user experience?

However there is still room for some minor  improvements / tweaks.

I’d love the OM-D EM1 II to possess the Panasonic GH5’s new high resolution EVF (ie 3680 k-dot) after all  it was rumoured that the new EM1 II it would have a more resolute EVF but alas no. The camera still lacks a % battery indicator, WHY. It still lacks a physical AF toggle on the rear ( a very useful feature), Auto ISO remains very basic and the menu system is still typical Olympus, ie extremely comprehensive but cluttered and sometimes confusing but in truth these are relatively minor moans.

All things considered the Olympus OM-D EM1 II is one hell of a camera regardless of its cropped sensor and probably worth its high retail price.

Mark Baynham (January 2017)