Sony SLT a57 review

Despite what I have written recently about my desire to move to a full-frame sensor, my journey with the Sony APS-C a57 A-mount camera system continues.

Call it the ravings of a delusion mad-man (I have just recently had Covid) or the sad musings of a hopeless GAS (Gear Aquisition Syndrome) addict if you like. I don't mind. It's probably both.

Yet despite my recent obsession with full frame, I have also concurrently been growing and developing my skills (and accessories) with the a57 DSLT.

It has come with me on my last two landscape outings (I've made myself leave the a99 at home), and I have - for the most part - enjoyed using it as a landscape camera. The camera has a lot of things going for it that I like, and a few that I don't like.

I have owned, and used, probably hundreds of different cameras over the last 35+ years. So I don't need to spend months getting to 'know' a system before giving my thoughts on it. I know what I like, and don't like, about a camera after shooting with it a couple of times. So what follows is my review of the Sony a57 - from my perspective. What I mean by that is simple - but deserves to be stated. I'm not a fast action sports, wildlife, product or portrait photographer - I'm a landscape photographer (mainly). So that will be where I place all of the emphasis on my thoughts and opinions. I don't shoot video, so I'm not even going to mention its video capabilities. And I don't need 20fps. So if you want to know what the a57 is like for sports photography, you may need to look elsewhere. Nuff said.

Cobden Beach Sunset. Sony a57 with SAL18250mm. f/11 @ 1/8th sec, ISO 100

Having got that out of the way and off my chest, what do I think of the Sony a57 as a landscape camera? Well mostly, it's positive. Mostly the a57 and me get along just fine out in the field, and it is creating some very fine landscape images. So yes, generally, my experiences and feelings towards the camera have been good.

It is an all polycarbonate body, that isn't weather-sealed - so in one respect that's a tick against it for a landscape photographer. And if you are the kind of landscape photographer who loves to be out in howling gales, getting you and your gear completely battered by the elements, then no, the a57 probably isn't for you.

I'm not that guy. I don't actively look to shoot in bad weather. In fact I actively avoid it. You don't have to shoot in the pouring rain to get moody and atmospheric landscapes. So I don't. I have occasionally been caught in a downpour when out photographing, so I put my gear away. I'm pretty sure that the a57, even though not weather-sealed, could handle exposure to a quick downpour. So no, I'm not bothered by it's all polycarbonate non-weather sealed body. Your mileage may vary.

Rapahoe Beach, West Coast. Sony a57 with SAL18250. f/11 @ 1/3rd sec, ISO 100. Grad ND filter

What I do appreciate about the Sony a57's polycarbonate body is that it is relatively light (yet with a decent heft) and relatively small. In fact, it's something of a 'goldilocks' camera for me in terms of its weight and size. It's bigger than the a55 that preceded it, fits perfectly in my hand without the need for an extra grip, and has excellent fit and finish. Nothing creaks or flexes (that shouldn't creak or flex) and all the buttons are in logical places.

My one gripe, maybe, around button placement, is to do with the positioning of the exposure compensation and ISO buttons directly behind the shutter button. They can require a bit of finger-gymnastics to reach, especially if you keep the camera up to your eye and want to do it by 'feel'.

And yet I say 'maybe' because it's really only a gripe when using the camera hand-held. When the camera is on a tripod - which it will be for 90% of my landscape shooting - then the issue goes away. It's also not an issue when shooting in manual mode, which I am also doing 90% of the time now. In full manual I set the appropriate ISO and then leave it, and of course don't use the exposure compensation button at all. Exposure is controlled instead by varying the shutter speed from the excellently placed front dial.

Rapahoe Beach, low tide. Sony a57 with SAL18250. f/8 @ 2.5secs, ISO 100. Grad ND filter

So yes, I'm very happy with the overall handling of the Sony a57 when out in the field. Especially for a more 'enthusiast' mid-level camera.

Except... for the articulating LCD screen. At 920,000 dots it's clear enough, and seems reasonably colour accurate (enough for me anyways). And it is an articulated screen. But therein lies the 'slight' problem. Because it articulates downwards, and not sideways (see the image of the camera on my tripod above). Since the screen angles down, the tightening mechanism on the universal ball head I'm using gets in the way of the full articulation. I've got around this by reverse-mounting the camera to the ball head, so that I now tighten the mount from the front of the camera. This works, but it means I've had to re-learn which way around to use the ball head. A minor annoyance, but an annoyance nonetheless.

Also, a quick word on the 1.4million dot evf. No, it's not the most modern out there. And yes, it's an RGB sequential device and not OLED. Some people have complained of  'tearing' of the image as they look around the display. But I haven't noticed this at all. And I find the viewfinder big, bright and perfectly fine to use. So no, no issues there.

Golden Hour, Cobden Beach. Sony a57 with SAL18250mm. f/11 @ 1/100th, ISO 100

At the end of the day, what do we really care about though? That's right IQ (image quality). And really, the Sony a57 doesn't disappoint here either. Some will say that it's 'only' 16MP - and APS-C at that. But it's an excellent 16MP Sony sensor, with very good dynamic range, and the resulting RAW images have a decent latitude for post-processing. I'm very pleased that the native ISO is 100 (as opposed to 200 on my Olympus cameras) - it just feels right shooting at ISO 100. The files are clean (noise free) at base ISO, and 'useable' up to 3200 or even 6400. For what I do, which at the moment at least is 99% web-based, the 16MP sensor in the Sony a57 is MORE than enough.

I don't crop hard on the computer - preferring to do all my cropping in-camera (or at least as much as I can). So quite frankly, more than 16Mp is probably a waste. And yes, I do understand the irony of that statement given my last few posts.

Would I prefer it had the 24MP full-frame glorious sensor in the a99? Yes, of course I would. But do I need a 24Mp full frame sensor? No, I do not... 

Rapahoe inlet. Sony a57 with SAL18250. f/11 @ 30 seconds, ISO 100. Grad ND filter

As befits a 21st century camera, the a57 is packed with whiz-bang techno stuff that I will never ever use. Panoramic sweep mode (in 2D and 3D - whatever that means), auto portrait framing, clear image zoom (apparently), numerous creative colour modes (for jpeg-only), lens correction - the list goes on.

The technology that I will use comes in the form of in-body image stabilisation (Sony call it 'Steady Shot') and full-time phase detection AF (due to the translucent mirror technology). Most of the time, if I'm using a tripod, the Steady Shot will be (should be) turned off. You don't need to stabilise a camera on a tripod. But I like the fact that image stabilisation is built into the body itself. This means that every lens you attach - even old Minolta lenses - are image stabilised.

The phase detect AF seems reliable and quick - certainly quick enough for landscapes. I'm also sure that it's quick enough for most other forms of photography too - with the exception of motorsport? The only other complaint I have with the a57 (although 'complaint' might be too strong a word - maybe 'niggle' is better) is with the AF points. There are 15 of them, in the same pattern as in the a99, which doesn't offer a very wide coverage. It's certainly not edge-to-edge like I'm used to with the Olympus system. There's no 'touch' to focus (it's not a touchscreen at all), and so AF is somewhat limited to the central portion of the image. Having said that, the same is true of the a99 as well, so it's not just an a57 issue. And again, manual focusing will get around this issue, especially for landscape work.

Rapahoe bonfire. Sony a57 with SAL18250.  f/11 @ 4 secs, ISO 100

Fortunately, manual focusing implementation is very good on the a57, as it is now with most modern digital cameras. The a57 has image magnification and focus peaking to aid in manual focusing, so nailing focus over the entire image area couldn't be easier.

Really, what's not to like? Battery life is very good (around 550 shots per charge using the lcd screen), the menu system makes sense and is easy to navigate, handling is (mostly) excellent, and IQ is stellar for a 16MP camera.

Overall, the Sony a57 makes for an excellent landscape photography camera and is a joy to use. I also get the feeling that I have yet to see it reach its full potential. My first few weeks with the camera have seen me use it exclusively with the SAL75300 and SAL18250 lenses - both of which aren't stellar performers. The 18-250 is ok, especially at the wide end for landscapes. But I have yet to try it with the Minolta 17-35mm f3.5 G lens that I've had paired with the a99. I may find that using this lens on the a57 bumps the IQ up a notch or two? It will be interesting to see...

Time to rethink things a little...

Ok, so I got Covid...

Millie. Sony a57 with SAL18250

I'm just coming out of the worst of it now, and feel sufficiently 'human' enough to be able to sit down and write this. But it's taken over a week.

I won't say it's the worst I've ever felt in my life - I've been worse. And I guess being triple-vaccinated against it helped (at least I hope it did). But still, it wasn't great.

How did I get it? Well, the adorable little bundle of fluff pictured opposite had 'something' to do with it. And BTW - she might look adorable, but don't let that fool you. My wife and I are deciding whether she is the devil's spawn or not at the moment!

Anyway, since we do now have her, we had to fence our back section so she could roam around. A builder friend (hi Ian) said he would come over last weekend and give me a hand building one - and long story-short, Ian had Covid. And passed it on to me...

So while I was convalescing and feeling sorry for myself, it gave me time to mull over my last few posts. It also gave me time to rethink my current kit - in light of those posts - and the possible ramifications going forwards. Whatever that means...?

I'm rambling. I'm delirious. I'm recovering from Covid. Let me see if I can make something coherent out of all this head-space mess - shall we?

First - my continuing thoughts around full frame. I had assumed, now that I am using (and enjoying) the Sony system, that I would 'upgrade' to a full frame Sony mirrorless. Something like the a7ii. These can be found fairly regularly now for around $1400NZ on the second hand market. Sony are the king of full-frame mirrorless and dominate that space with the a7 line, so it was a natural decision to make. Well done me 😄

And then I tried one. And I wasn't blown-away using one. In fact, just the opposite really. Enter the first roadblock. Yet, undeterred, the 'research' continued.

Then I realised that, for not much more $$, I might even be able to get a brand new mirrorless full-frame camera! Something like the Canon EOS RP that retails for $1985.00NZ body-only. Even these are beginning to appear on the used market, which means even more savings can be had. 

Notice, however, how the above price is for 'body-only'. Getting a decent lens for the Canon R system, even second hand, is not a cheap prospect. Even the 50mm f1.8 RF lens is over $400NZ new. So maybe 'new' isn't the way to go?

And maybe mirrorless isn't the way to go full-frame either?

Both Canon and Nikon have been producing full-frame DSLR's for over ten years now. Plenty of time for the second-hand market to see its fair share of full frame offerings. In Canon there is the famous 5D line of cameras, as well as the 6D (Mk 1 and II). 5D Mk 3's and 6D Mk1's can be found online for even less than a Sony a7ii body. They even often include a lens, a grip, and spare batteries! 

The same is true with Nikon - where D600s, D700s and D800s are regularly turning up on TradeMe. Especially now that their owners are switching to the new mirrorless systems.

So yes, there's a plethora of great full-frame DSLR's to choose from now. In fact you could argue that it's the perfect time to be 'getting into' a full frame system.

But then... THEN... maddeningly, annoyingly, frustratingly, there is a part of my brain that says "Why bother? Why go full frame at all? What's really so bad with APS-C?" (Or micro four thirds for that matter).

What's so bad, for example, with a Fujifilm XT-2, with grip, and Fujinon 18-55mm XF lens - available on auction here in New Zealand as I write this, for only $875.00! Yes please! I'll have some of that!

That would be an incredible mirrorless kit, at a fraction of the full frame price. And I have to say, I'm sorely tempted! Because lets face it, there's nothing bad with APS-C. Especially for what I do, what I need it to do, and what I might want it to do in the future. And the Fujifilm system is an amazing eco-system to get into. Much better, it could (easily) be argued, than the now defunct Sony A-mount system I find myself a part of. Why, oh why (part of my brain bemoans) am I still not shooting Fujifilm? The XT-2 with grip looks right up my alley!

And then... THEN... strangely, weirdly, uncontrollably, I go on to TradeMe (our internet auction site here in NZ) and add a Sony flash and leather grip to my existing a57 kit! At the same time that I have put the Sony SAL75300 and Sony SAL18250 lenses online to sell! 

Because there is another part of my brain (how many parts do I actually have!?) that keeps saying to me "Be content with what you have. There's nothing wrong with the images you're getting out of the a57. Use what you've got and stop looking elsewhere!"

And I would agree with that part of my brain. It is, after all, the same part that convinced me to get the a57 in the first place. And yes, on many levels, the a57 (or at least the Sony SLT system) is my 'ideal' system. I love the feeling of an SLR style body. It just feels so right in the hand. Tick for the a57. I also love an evf, and seeing all my information, histogram and changes through the viewfinder while I compose the image. Another tick for the a57. I love an articulating screen and a good live-view implementation when I'm shooting landscapes. Tick again. In fact, it's the only system that ticks all these boxes - apart, maybe, from the Panasonic micro four thirds cameras that are designed to feel like a DSLR.

Why, then, have I put two lenses up for sale? Well, it was an easy decision getting rid of the 75-300mm f/4.5-5.6 - it's just not a great lens. I got it for birding and extreme telephoto images, but based on my testing of this lens, it's not likely that I will ever use it. It's just never sharp enough (for me). Selling the 18-250mm was a tougher decision, since it's actually a decent performer up to 100mm, and a great travel lens. But I also have those focal lengths covered with other (better) lenses, so really I'm just giving up the convenience factor. And with the money I hope to get from selling them both, I might look at getting a Sony 70-300mm f/4-5.6 G SSM to replace the SAL75300? Should be a much better lens.

So no, I haven't given up on my a57, or the Sony SLT a-mount system  - just yet at least. And I may not give up on it at all? Full frame might remain just a philosophical thought - for the time being 😆 I really am going crazy....

Sony a57 has arrived!

The title says it all really 😄

Yesterday (as I write), my 'new' Sony a57 was delivered by the nice folks who brought it back from Christchurch for me (thanks Macey's dad). It arrived packaged up in a Tenba Solstice 7L sling bag (not a 10L, but never-mind, it fits heaps of gear) which included the body, Sony 18-250mm f/3.5-6.3, Sony 75-300mm f/4.5-5.6, Sony camera strap and Sony charger. The battery in the camera was flat 😞 so I popped it on the charger and gave it a few hours to fully charge.

For a start, overall condition is excellent. Both lenses look practically new - although the SAL18250 didn't come with a lens hood (drats!). The glass on both is clean, clear and pristine. Really don't think they have had much use at all.

As for the camera body itself... it does show a few signs of wear on the body, and the rear thumb leatherette section (which I actually think is some type of rubber) is peeling away slightly. So I have used some double-sided tape to keep it stuck in place. If that doesn't do the trick, then I will glue it down as a long-term solution. It's just a minor thing.

The main 'wear' was evident on the rear LCD screen itself. This could even be seen on the photos they had online. But I was guessing that it was a removable screen protector that had been scratched, and would come off and be replaced easily. Sony actually has their own screen protection film placed on their screens out of the factory, and often it's just a simple case of peeling this off carefully to reveal the clean screen underneath.

Long story short, there was actually another screen protector placed over top of this one by a previous owner, and it just popped off with a little help. So I've just left it as-is now for the time being. The Sony standard plastic film cover is pristine, so that's good enough for me.

So overall condition on the whole kit itself - I'd rate it a solid 8.5 out of 10. Which I'm very happy with. I've also checked the shutter count for the a57. Only 12,224 shutter actuation's, so it's hardly been used at all. I would assume that the a57, being a mid-range series camera, has a shutter life of around 100,000 clicks? So that means the camera has used about 12% of its life-span. Good news.

Settings-wise it's pretty straight forward. Most of the time I will shoot RAW, single-shot, single auto-focus, wide area AF (or spot), multi-metering, at the lowest ISO I can feasibly get away with (not Auto ISO). I usually choose sRGB colour space (since mostly I'm posting on the web), anti-shake set to 'on', eye-focus set to on, and all noise reduction turned off (as is the annoying camera beep). I have left the ISO button to control ISO, but have re-configured the AEL button to switch to manual magnification focus assist. And that's about it.

I haven't delved into the movie settings, since I don't plan on using it for video - at all. And pretty much all the other options don't really matter, since I'm shooting RAW only and not Jpeg (or RAW + Jpeg).

And there you have it. Pretty simple really. Which I think is great. 

I have taken it out with the 75-300mm attached to do some bird photography at my local lagoon, and will post about that next. Unless I cut-in with what I'm planning on for tonight's outing - landscapes with the 18-250mm. Should be fun.

It's official - the Sony a57 is on its way

The deal is done...

I am now the proud owner of a Sony a57 SLT (single lens translucent) digital camera.

I sent my Olympus gear over to Christchurch this weekend past (thanks Levi for taking it for me), to be assessed for trade-in. Initially I was excited by a Fuji X-T20 body (see previous post here), but quickly realised I would get much more bang-for-my-buck if I went the Sony route (and I'm all for bang-for-my-buck!). You can read more about that here.

Late last evening (as I write this) I was contacted by the camera store owner who gave me a very good price for my Olympus gear (thanks Greg), and who also said the Fuji X-T20 was still waiting there for me! In the interim, I had been discussing other options with another member of his staff (hi Adam), and had come to the conclusion that the a57 was the one for me. This conversation obviously hadn't been passed on to the boss - who had even refused a sale for the X-T20 because he believed I wanted it. A quick email later, and I had outlined to Greg what I actually wanted as a trade-in for my micro four thirds gear. But how was I going to make it all happen?

My son is currently studying at the University of Canterbury (starting his second year in Computer Engineering), and Levi (who had picked up my camera gear in Greymouth) is one of his flatmates. So now Josh had my camera gear, and took it in today (as I write) to do the deal. I had outlined to him exactly what I had told Greg in my email of the previous evening, and had already received a reply from the store indicating that all would be ready when Josh got there. The stars were aligning.

Early this afternoon, I got a text from Josh saying he had the gear, and then about 10 minutes later I received an email from Greg at the store indicating the same. He also said that he had thrown in a spare battery (thanks Greg), and that I even had money left over that they would be happy to put into my bank account if I supplied them with a number. Which I immediately did. Wow! All this and money left over! How cool is that!?

So what am I actually getting, you may ask? What did I manage to score for my trade-in?

Well of course for a start there's the Sony SLT a57 body, with charger and batteries (x2). But it also came as a kit, together with the Sony DT 18-250mm f/3.5-6.3 super-zoom lens (see above). This will be an absolutely perfect walk-around lens that will probably be on the camera 80% of the time. At least whenever I'm capturing 'daily' life. Yes, I know that the f/3.5-6.3 variable aperture is fairly slow. But it was on my Olympus 12-50mm kit lens as well, and I loved that lens for its versatility. And optically it wasn't bad either.

The Sony DT 18-250mm (SAL18250) is an incredibly versatile lens - ranging as it does from 27-375mm in focal length (35mm full-frame equivalent). I will, of course, test it out once it is my hot little hands. It may not be a 'stellar' performer, but it also might not be that bad? I've tested the Canon 18-55mm kit lens before against an 'L' lens, and the 18-55 held its own admirably. So we shall see.

Add to this the Sony 75-300mm f/4.5-5.6 - another 'kit' lens that was cheap, but fills a niche that I like to have filled in my bag. I've written a few times before that I'm not a big telephoto shooter, but when I need it, I need it (if you get what I mean). I already know that this lens will be 'soft' wide open at 300mm. So guess what. I won't shoot it wide open at 300m 😆

With a 112-450mm focal length (in 35mm terms), as with the 18-250mm, it has a pretty impressive range. I'm sure that the 75-300mm will perform better than the 18-250 at the 200-250mm end (although that remains to be seen), so I've got it for two reasons. First because it was cheap 😂 And Second, because it will be the lens that I reach for when I want/need that extreme 450mm focal length (birds,sports,wildlife etc). I could be wrong, but I'm betting that the Sony 75-300mm will be 'good enough' for what I need it to do? Again, testing will be done.

Finally, it will all come in a Tenba 10L Solstice Sling backpack - in black. The Solstice is also second hand, but from what I can tell from the listing on their site, the only thing wrong is that it's missing its rain cover. Which I never use. So no big deal...

I wanted a sling-style backpack for the Sony gear, especially if I decide to carry most (or all) of it with me on a trip. The sling style backpacks are hugely versatile - offering the carrying convenience of a backpack, with the ease and accessibility of a messenger bag. When you get to somewhere you want to take a photo, simply 'sling' the bag around to the front for easy access to your camera. Ingenious! I used to have a Lowepro Sling backpack and loved it. So I'm looking forward to using the Tenba.

So there you have it. A camera, two lenses, and a backpack - plus change... Not a bad trade-in deal if you ask me.

The final stroke of luck... Macey's parents (my son Joshua's other flatmate) are going to Christchurch this coming weekend, and can bring the Sony gear back with them. So I haven't had to pay courier fees to get the gear there, or back again! Brilliant. It will mean that I don't get the gear until after this coming weekend - but never mind. Until then at least I've still got the Sony a99 to get along with. Not a bad fill-in option...

Sony a57. Does the 'head' finally win?

I wrote in a previous post (here) about my desire to change systems and shake things up a bit in my photography. In that post, I concluded that my 'head' said I should go with a Sony a57, while my 'heart' really wanted the Fujifilm X-T20. And usually in these scenarios, my heart wins...

But not, I think, this time. This time, I might actually do the 'right' thing? I might actually go with the wiser option, and get the Sony a57. It's looking very likely...

Why is the a57 the wiser option? For a few reasons actually. First, if I did opt for the Fujifilm X-T20, then I would be purchasing the body only, and then having to source a lens elsewhere. For the money I would have left over after purchasing the more expensive X-T20 body, I could probably only afford the basic 16-50mm XC kit lens. So, in essence, I'd be trading in an Olympus E-M1 + grip, with 12-35mm f2.8, 40-150mm 4/4-5.6 and external flash - and getting an X-T20 with cheap kit lens as a replacement. Not very wise...

If, however, I opt for the Sony a57, then it already comes with a Sony 18-250mm super-zoom (not a stellar lens, but hey, better than nothing) for less than the price of the X-T20 body-only! I can probably also squeeze in a Tamron SP 70-300mm f/4-5.6 as well, depending on how much they offer me for my Olympus gear. So that's an a57 body, with two lenses, for not much more than the X-T20 body on its own.

And it gets even better! Because, as I think I've previously mentioned, I already have a few stellar Minolta lenses just sitting here waiting to be used on a Sony a-mount body. Exotic lenses like a 16mm fisheye and 50mm macro. The 17-35mm f3.5 'landscape' lens. And a 28-105mm f/3.5-4.5 Minolta power zoom. Add to these the aforementioned Sony 18-250mm and Tamron 70-300mm, and that's a pretty impressive line-up of glass! As opposed to the 16-50mm XC kit lens for the Fuji (sorry Fuji, no offence intended). 

So really the answer, in the end, is fairly obvious. I just have to go with the Sony a57. Especially if you also add in the fact that I still have a full-frame a99 on-loan, and can probably borrow even more glass to use with the Sony if and when I want.

The more I thought about it, the more my 'head' took over from my 'heart', the more complete and utter sense it made to go with the a57 over the X-T20. I was enamored by the Fuji because it has the 'newer' processor than was in my X-E2 - which means I could use grain settings and the Acros film simulation in-camera. Something I really wanted to be able to do on the X-E2 but couldn't.

But even then, the more I thought about that, the more nervous I became. Do I really want to go down the 'what film simulation will I use today' rabbit-hole!? It's fun - don't get me wrong. But I also found it a huge time-waster when I was using my Fuji's. It tied me up in knots more than once. My life is much simpler without film recipes to be programming.

And then there's the form-factor of the X-T20. It's small. Very small. Similar to the X-T1, but even smaller. And I really didn't like the X-T1. It was too small, too cramped, and I much prefer a more solid (larger) DLSR style camera. A lot like the a57...

The Sony a57, with its translucent mirror technology, also offers the best-of-both-worlds (as far as I'm concerned). DSLR-like handling, yet with mirrorless tech included - like the Tru-Finder evf. OK, so it's not the highest resolution evf you'll ever find, but it's an evf. And I like evf's. I love the ability to see changes in exposure through the viewfinder, in real time, with histogram overlays, levels, focus peaking - the whole works.

Yes, I've changed my mind. Or should I say, I've listened to my mind - and not my heart. If there is one thing that all photographers who have been doing this for a while agree on, it's that glass is king! Camera bodies come and go, but the glass is what makes the photo. Going 'cheaper' with the Sony a57 body makes perfect sense when you consider the lens lineup I already have access to. So it would seem that this time - finally - the 'head' has won.

OM Solutions Olympus OM-1 'Wow' camera - my thoughts

I feel sorry for OM Solutions (Olympus). I really do. But actually, I feel sorry for all the camera manufacturers releasing new camera models in this day and age. OM Solutions just happens to be the latest example in a long line of recent examples. And I'll tell you why...

There is an old expression - I don't know whether you've heard it - that goes: "They were on a hiding to nothing." Basically what this means is that, no matter what they released, they were going to get hate. I guess that also goes together with a more recent saying; "Haters are gonna hate."

Maybe, it could be argued, that OM Solutions (at least their marketing division) didn't help themselves by building this release up to be their 'Wow' camera. But did they really have a choice? They were hardly going to market the first release of their 'flagship' camera by calling it their new 'A bit better' camera!

And yet, as soon as it was officially released (and for weeks prior), the haters were already wading in with what was disappointing or wrong with the camera. And this includes some of the Olympus faithful! Since it's official release on Feb 15th, I've seen numerous posts on-line by people who have said "That's it. I'm selling all my Olympus gear. I'm done." Or words to that effect. Geez Louise! This camera must really suck!? Or does it?

Spec's wise, let's have a quick look, shall we?

For a start, it has a new 20MP quad-pixel AF stacked CMOS sensor with 1053 cross-type AF points and blackout-free shooting up to 50fps with AF and AE - 120fps with AF and AE locked! Wow! What is not impressive about that people?

Okay, okay - yeah I get it. It's only 20MP. I got news for you buddy - you, yes YOU. 20MP is more than enough for 99% of photographers. Period. 20MP is more than enough for large billboards. 20MP is more than enough for weddings, portraits and landscapes. 20MP is more than enough for your Instagram feed and your Facebook page. It just is. If you feel inferior, and have convinced yourself that you need 40+ megapixels, then micro four thirds was never for you in the first place. Seriously! Go and buy a full frame camera for heaven's sake. Go on... off you go...

For the rest of us mere mortals, the new 20MP stacked sensor in the OM-1 will do just fine. Actually more than just fine. And if you really want to capture more pixels, then have at it with Olympus's fantastic hi-res shooting mode, which has been significantly improved on the OM-1. Due to the new stacked sensor, and improved TruePic X Dual Quad Core processor, the OM-1 can now shoot 50MP resolution images handheld with less risk of subject movement between shots (7 seconds processing time vs 16 seconds on the E-M1 Mk3). It can also create an 80MP Tripod-mounted image as well. And it spits out a RAW image at the end of it all - not just a processed Jpeg.

Is that enough Wow for you? No? Well never mind - there's more...

The new OM-1 is one of the most weather sealed cameras in the world. Environmental sealing rated to IP53 (and no, I don't know what that actually means either. But trust me, it's a lot!). Want more? It has 7 stops of 5-axis  in-body image stabilisation, increased to an incredible 8 stops with a compatible lens. OM-D are also claiming an increased dynamic range over the E-M1 Mk3 of 2 stops (that alone is pretty impressive), and, of course, better low-light performance at higher ISO's (up to a boosted maximum of 102400).

It also has a new 5.76M dot OLED viewfinder with up to 0.83x magnification, a fully articulated 1.62M dot touchscreen, and a new menu system with a more Sony/Canonesque layout and configuration. The new battery is good for 500+ shots and will, of course, allow for a new battery grip to bring it up to the weight and size of a E-M1X.

I haven't even touched on it's new AI tracking capabilities and it's video specifications (4k 60p for 90 minutes, OM-Log - yadda, yadda, yadda).

And yet people aren't impressed.... The camera isn't 'wow' enough for them. They feel the desperate need to change systems. It's a disappointment. Not really an upgrade on what they have already... (insert other rants and moans here...). Are we not entertained?

And this is why I feel sorry for OM Solutions, and Canon, and Nikon, and Sony, and all other manufacturers who have released new products in the last few years. Who remembers the internet loosing it's mind over only one card slot in the Nikon Z6 and Z7? Or the overheating at 8k with the Canon R5? Every time a new camera model is released, the interwebs are awash with haters and nay-sayers just waiting to pounce and declare their crushing disappointment in X, Y or Z.

What a bunch of winging, moaning, self-important, self-entitled, hyper-critical, technology obsessed, narcissistic, over-opinionated a**holes we've become! Just who the hell do we think we are?

All of these cameras are phenomenal achievements in design and technology. And all we can do is bitch and moan about them. I watched a Youtuber the other day describe a single card slot in a camera as a 'deal-breaker' for him, since he shoots weddings. Really? A deal-breaker? So what, may I ask did people shoot weddings with 10 years ago when there were NO camera's with two card slots?

Ok, yes, I get that we have 'moved' on, and we do now have cameras with two card slots. If you feel better shooting a wedding with two card slots in your camera, then by all means, go for it. But a 'deal-breaker'. Really? C'mon. 

Personally, I think that today's cameras are actually a bit too good. A bit too feature-packed and technology laden. Where can they really go from here? How could OM Solutions have made the OM-1 any more 'Wow' than it already is? And before you answer that - think seriously (and I do mean seriously) about what you actually need for your photography.

AI and 'computational' photography are the new buzzwords for the future of our hobby/profession. But at what stage does it then stop being about photography and become more about computer programming?

I, for one, don't need the OM-1. And probably wouldn't use a tenth of it's features if I had one. To me it really is a WOW camera. And so is the Nikon Z9, and the Sony a9, and the Canon R5 etc... Just like most people probably don't use even 1/10th of the functionality in their phones. And yet they will 'upgrade' to a new one every other year. Heck - even my current E-M1 Mk1 is still a WOW camera, and does all I need it to without breaking a sweat.

I suspect that these people who 'need' the latest gear, and who complain the loudest whenever a new camera is released, are actually lousy photographers, who simply want to own the 'greatest' gear as a status symbol. Not for any creative endeavors. Heaven forbid they would actually use the gear to take any photos with!

Having said that, I've also seen plenty of posts on-line from people who have pre-ordered the OM-1, and who are genuinely excited about the new camera. Good on them. I'm sure they will be very happy with their new gear. I lusted after the EM1x when it first came out, and I certainly wouldn't say no if one was handed to me. But I'm also not about to go on any forums and slag it off just because it's bigger than it should be, or doesn't do this, that, or the other.

To stay in business, camera manufacturers must release new product. And said new product must be 'better' than last years model. I get that. But have we almost come to the point where they actually can't get much better? Where photography gives way to electrical engineering and computational physics? As Kodak once famously said. "You push the button, we do the rest."

Minolta Dynax / Maxxum / Alpha 7 - The ultimate film camera?

Canon F1. One of my earliest objects of desire...

There have been many (many, many, many) cameras I have lusted over in my 35+ years as a passionate photographer. As a Canon film shooter in the 1980s I dreamed of owning an F1 - and was lucky enough to own a T90 (it's a long story). A friend of mine had an autofocus Nikon F801 which I lusted after. And of course there were the flagships - the Canon EOS 1 and Nikon F4, that were always way beyond my meager budget.

But times they are a changing (thanks Bob), and most of these film cameras - even the top professional ones, can be had for peanuts today (at least that used to be the case). I've now owned many of the cameras on my wish list, including the aforementioned EOS 1 and F4. And yes, they are every bit as amazing as I knew they would be.

I also took my time moving over to digital, waiting until 2006. By then, digital cameras had been around for a few years, and we had seen the introduction of the 'affordable' Canon 300D (Rebel). Followed by the Nikon D70, the camera I ended up 'converting' to digital with.

Even as early as 2003 film cameras were quickly loosing their value, yet it would be a few more years before digital images truly surpassed those taken on film. I used those few years, in the early 2000s, to pick up some very good film gear for very reasonable prices. The system that I settled on, before switching to the Nikon D70, was Minolta. Specifically the Minolta Dynax 600si Classic. A brilliant camera, and a joy to use.

Minolta Alpha/Maxxum/Dynax 7

But as brilliant as the 600si was, the camera that I really wanted - the one that I really lusted after, was the Minolta Dynax 7. It was, to me, the ultimate expression of what a film camera of the 21st century could (and should) be. Beautifully designed, gorgeous to look at, and absolutely jam-packed with as much technology as you could cram into a camera without it actually being digital; the Minolta 7 was the height of film camera tech. But even back then, it came with a hefty price tag. 

And as I've already said, it was as close as you could get to shooting digital, without actually 'going' digital. Which, of course, everyone was. Much like the recent mirrorless vs DLSR debate (where mirrorless is obviously the future), it was obvious that film cameras were 'old tech' - even one as sophisticated as the Dynax 7. You would have been crazy to invest heavily in a film camera in the early 2000s. So I didn't. I moved over to Nikon, and never regretted the decision - even when Minolta released their digital version of the Dynax 7 (the aptly named 7D) a few years later.

What's that? A rear lcd screen on a film camera!? Yep.

I love using digital cameras, and was hooked from the moment I got the Nikon D70. The Olympus E-M1 I use now is a superb image making tool, as are all the cameras being released in the digital era.

But I will always have a special desire for film cameras. I wrote an opinion piece for an analog website a long time ago stating that; digital might be the 'heart' of photography, but film is the 'soul'. A bit pretentious maybe, but for someone 'raised' on film photography, it's in my blood (and, dare I say it, soul). 

I know, however, that there are photographers who couldn't wait to be rid of film, and have absolutely no intention of ever using it again. Not me. For me, it's a time capsule linking me back to my youth, and connecting me to the passion I felt when I first picked up a camera all those 35+ years ago. I'm not a film user because of some hipster, retro aesthetic that it can give my images. Far from it. Although if that's why you like film, then good for you. Have at it. Personally, it's more about the toys - the cameras themselves - and the possibility of fulfilling youthful dreams of actually owning and using these amazing cameras.

Which brings me back to the Minolta Alpha/Maxxum/Dynax 7. And which, from now on, I will refer to only as the Dynax 7 - since that is what it was called in Europe. Maxxum was used for the American market, and Alpha was the Asian designation (don't ask me why, and don't get me started).

Dynax 7 cutaway from Minolta brochure

So why am I writing a blog post about a camera I wished I'd owned 20 years ago? Well, long story short, a very good friend of mine has just given me a Minolta Dynax 7 as a gift (thanks Stew)! To say that I am blown away is something of an understatement. 

I knew he had found one at a local Op Shop (Thrift Store for my American friends) in a bulk load of cameras last year, and while it looked in good condition, it didn't actually work (broken shutter). We both had a good look at it to see if we could revive it, but both pronounced it dead. I commented to him at the time that it was a camera I had always wanted, and it was a shame this one was broken. He took it away with him, and to be honest, I didn't think any more of it. Until yesterday when Stew handed me the camera with a 28-105 lens attached and told me it was a gift! Mind blown.

Stewart is a professional photographer, and has been a Minolta shooter (now Sony) for as long as he has been using a camera. But he is also one of those photographer's who was very happy to see the end of film. So he is very happy to pass the Dynax 7 on to someone who will appreciate it, and actually use it. Which I most certainly will.

While one of his Sony camera's was away getting repaired, Stew sent the Dynax 7 in with it to see if it was salvageable (without pouring too much money into it). Turns out it was, and the service center managed to get the shutter mechanism working again. So now the Dynax 7 is working. Yay!

Stew also has quite a collection of old Minolta lenses - some rather exotic - which I am also fortunate enough to be able to avail myself of. Not only do I have a Dynax 7 with aforementioned 28-105mm Power Zoom, but also the use of a 50mm macro, a 16mm fisheye, and a 17-35mm which actually came with the Dynax 7 he found at the Op Shop. Quite an impressive kit - and I can't wait to use it all! 

There's one problem initially though - I don't have any film for it! I've recently sold off all my film stock, figuring that my film camera days were behind me. Damn! Now I wish I'd kept at least a couple of black and white rolls back, just on the off-chance that someone would give me my dream camera! Go figure....

I will get some film for it. And I will go out and shoot with it. Maybe with Stewart one day soon? He's just purchased a new Sony A7R 4 61MP beast, and I know he'll be itching to get out and use it when it arrives. I feel a road-trip coming on 😄 
 

I will definitely write more about my experiences with the Dynax 7, once I get around to shooting with it. There is so much ground to cover with this camera and the incredible technology Minolta built into it, that I'm sure it will span several posts and months of shooting. Can not wait. It's going to be so much fun!

My 'dream' kit in 2021

I belong to several Facebook groups to do with buying and selling camera gear (surprise, surprise). Mostly it is people looking to upgrade, sell the occasional lens, or change systems. I've used it myself from time to time. It's actually how I found, and purchased, my Panasonic Lumix 12-35mm f2.8 recently.

Most of the time I just flick through the posts quickly, especially if I'm not looking to buy or sell anything. But one recent post made me stop in my tracks, and almost made my eyes water! And it also got me thinking (and dreaming).

Someone was selling their entire Sony kit - for $16,000NZ! No, that's not a typo. $16k! That price is enough to make anyone stop and look more closely.

To be fair, this wasn't just some scam artist trying to dupe an unsuspecting newbie into paying way too much for outdated gear. This was a legit seller, with a LOT of quality Sony camera gear, who was hoping to sell it all as a package deal. And I'm sure it was good value, even at sixteen grand NZ. I didn't dive too deeply into exactly what he had in the package, but there were at least two Sony A7R III camera bodies, probably with grips, and about five or six G series lenses to go with it. As well as flashes and other accessories. And it all seemed very lightly used. I think one of the bodies had only done around 15000 shutter actuation's. That's nothing.

But, as much of a bargain as it may have been, it got me thinking about someone's ability to drop $16k on a camera system. Obviously it was being pitched at a professional photographer. And I assume (although I don't know for sure) that the guy selling it was a professional themselves. Although maybe not? I've known a few hobbyists in my time who had the ability to drop some serious cash on photography gear. And good on them, if they can afford to do so.

For me, however, that kind of money to spend on photography gear is dream territory. Although I'm sure if I added up all that I had spent on photography over the last 35+ years, that figure would also make my eyes water! But I have certainly never had the ability to spend that kind of amount all in one go. And I'm sure I never will. And yet, from time to time, I think we all play the 'what if' game in our minds. And this Facebook post, with the seller asking $16,000NZ for his Sony gear, got me thinking - and dreaming - about 'what if'? What if I had $16k to drop on photography gear. What would I get, in 2021?

Of course the very first question I would need to ask myself is "Should I stay, or should I go" (apologies to The Clash).

To be honest, I didn't really have to think about this for too long. I think I'd stay. Which might, for some, be a surprising answer. After all, if you had $16,000 wouldn't it be the perfect opportunity to 'start again' and buy into a completely new system?

And the answer is, of course, 'yes'. It would be a perfect time to buy into a new system. If you were unhappy with your 'old' one. Thing is, I'm not unhappy with my Olympus/Panasonic micro four thirds system at all. Just the opposite in fact. I still maintain that it is an amazing, incredible, fully featured and mid-blowingly capable image-capturing system. So why would I want to change?

But what about the future of micro four thirds - I hear you ask. Yep. Very good question. The future is certainly uncertain (to quote an obscure Rowan Atkinson skit). And yet, my honest (although perhaps somewhat flippant) reply would actually be - I don't care.

I'm not sure how long JIP (Japan Industrial Partners) is going to keep the micro four thirds Olympus camera system going for? Nobody really does. Will they produce another iteration of OM-D models? Will there be an E-M1 mk4, or E-M5 mk4? Or an entirely new E-M'something'? Will we ever see an E-M1x Mk2? I honestly don't know. 

And what of Panasonic? We know the GH6 is coming, which is a good sign. But if Olympus folds, will there be a GH7? Or a G10? Or any new lenses? Again, I simply don't know. We do know that Sony seems to still be developing micro four thirds sensor technology, which is a very positive sign. But this is Sony. So we also know that the development could cease at any time if it no longer becomes profitable. And fair enough.

But in the end, as I stated earlier, I just don't care. And why not? Well, quite simply, even if all production of micro four thirds stopped tomorrow (and it won't), there would be enough product - and probably enough spare parts - in existence already to see me through to the end of my photography days. I'm no spring chicken. I realistically only have about another 20 years of good photography left in me. If that. And barring accidents, I look after my gear. So I reckon, based on current technology, any new camera I purchased in 2021 would probably have twenty years of use in it - easily. I have, and use, a Nikon D70 - which was released in 2004. That's 17 years ago. And it's still going strong. And still produces great results. I have no doubt that the current technology would see me through to the end of my photographic journey.

Having just said all that... if I was 20 years old and just starting out in my photography career, then my decision would be completely different. If I was serious about a photography career, had my whole life ahead of me, and wanted to invest heavily into a system, it would not be micro four thirds. I would look, instead, at the Nikon Z (or Canon R) mirrorless system.

But I'm not (20 years old), so I'm very happy to stick with micro four thirds. And would still suggest that a hobbyist or amateur photographer give it serious consideration in 2021 as well. Despite what I've postulated above, I still think there's life left in the old girl yet 😉

Okay, enough already. If I had $16,000NZ to spend today, on photography gear, what would I get? Not allowing for discounts (but I'd want something taken off  - or included - if I was dropping $16k), and given my bias towards landscape photography, the list would go something like this:

Olympus OM-D E-M1 Mk3 bodies x2  $6,194.00

Olympus HLD 9 Power Battery Grip $498.00

Extra BLH-1 Olympus battery x2 $240.00

M.Zuiko 8-25mm ED F4 Pro lens $1,750.00

M.Zuiko 12-40mm ED F2.8 Pro lens $1,400.00

M.Zuiko 40-150mm EZ F2.8 Pro lens $1,800.00

Olympus MC-20 2x Teleconverter $785.00

M.Zuiko 8mm ED F1.8 Fisheye Pro lens $1,500.00

M.Zuiko 60mm F2.8 Macro lens $600.00

Olympus FL-700R Flash $650.00

Filters and Camera Bag $600.00

For a grand total of $16,000NZ (approx)

Prices in NZ dollars, rounded up, as at 8.09.21

I'm not going to go into great detail about why I've chosen what I have, a lot of it is probably self-explanatory. I will, however, clarify a couple of things...

First, I went for two E-M1 Mk3 bodies and one grip for flexibility over going for the E-M1x with built-in grip that can't be detached. If I want to travel 'light' I would simply use the E-M1's sans-grip. That's not an option with the E-M1x. I could have gone with an E-M1 Mk3 plus grip, and an E-M1x body for basically the same cost, but decided that two identical back-up bodies would be a better idea.

The lenses are probably all obvious. I opted for the 8-25mm f4 over the 7-14mm f2.8 as my landscape lens because a) I don't need f/2.8 for landscapes, and b) the 8-25mm allows for using filters, whereas the 7-14mm doesn't. And I think that the range of the 8-25mm is far more versatile as well.

The fisheye, and to some extent the macro, are in the list just because I can. They are very 'specialty' lenses that I wouldn't use very often, but are achievable within budget - so why not. I'm obviously not really a 'prime' guy, but these specialty lenses are an exception to the rule. I also don't feel the need to wait for the 100mm macro Pro version that OMD Solutions are said to be releasing soon. As already stated, I'm not really a macro shooter, so the 60mm will be more than sufficient for my needs.

So there you have it. My 'dream' kit. And as you can see, even purchasing all new, you can get a lot of gear for your money if you go with a micro four thirds system. And I didn't even look at any Panasonic lenses - even though it's what I shoot with at the moment.

I know that this has been a long post already - and thank you if you are still reading this. If you are, bare with me a little longer. I thought it might also be interesting, as a comparison, to see what $16kNZ would get you if you bought into the Nikon Z system that I mentioned above.

Nikon Z6 Mirrorless bodies x2 $6,380.00

Nikon MB-N10 Battery grip $450.00

Extra Nikon Z6 battery x2 $240.00

Nikon XQD Memory Card 64GB x2 $680.00

Nikkor Z 14-30mm F4 S lens $2,185.00

Nikkor Z 24-70mm F4 S lens $1,685.00

Nikkor X 70-200mm F2.8 VR S lens $4,300.00

For a grand total of $16,000NZ (approx)

Prices in NZ dollars, rounded up, as at 8.09.21

I have tried, as much as possible, to find like-for-like in the two systems. And as you can see, $16,000 buys you a lot less if you opt for a full frame Z series Nikon. I have even chosen the first generation Z6, as opposed to the latest model Z6 II. You could also save yourself some money by using the F series adapter and using the older 'F' mount lenses, instead of going for the Z mounts. But if you are 'investing' in the system long-term, why would you? Just get the Z mount lenses in the first place.

While the above may seem a bit futile (I haven't got $16,000 to spend on photography gear after all) and pointless, it's still quite fun. No harm in dreaming - right? It may also be interesting to look back on this post in a few years time - say 2025 - and re-visit it, to see if my 'wishlist' may have changed?

What would be on your wishlist if you suddenly found $16,000 to spend on photography (and you can't say 'a world trip', it has to be on actual gear)? Go on, dream a little...

Taking the Nikon D70 for a spin in 2021

While my Olympus OM-D E-M1 is away getting repaired (see earlier post), and my E-M10 is packed up for its new owner (yay), I thought I'd take the opportunity to use an old friend. The Nikon D70.

Who, me? Nikon D70 with Nikkor 18-55mm. f/5.6 @ 1/800th, ISO 200

The Nikon D70 was my first ever DSLR - back in 2004 I do believe? That makes this a 17 year old digital camera (in 2021). It's a 6.1 megapixel beast with a 'massive' (kidding) 1.8" 130,000 dot lcd screen. It takes the somewhat outdated Compact Flash cards, has 5-area focusing, and shoots at a blistering 3 frames per second. Not flash specifications by today's standards I guess?

Cobden Beach High Tide. Nikon D70 with Nikkor 18-55mm. f/5.6 @ 1/5000th, ISO 200

And yet, this is the camera I used for my first year as a wedding photographer. With excellent results. Because it is a damn fine Nikon camera, with excellent ergonomics, and excellent IQ. So what if it's only 6 megapixels? So what if the lcd screen is only really an indication? As long as it shows the histogram overlay (and it does), do you really need to 'chimp' your images after each shot!? (That would be a 'No' by-the-way).

When I first purchased the D70, it was streets ahead of the all-plastic Canon offering (the 300D?) - with better handling, superior specifications, and just an all-around better user experience. And really, that's still the case all these years ago. As a photographic tool, the D70 handles like a dream.

Swan River. Nikon D70. f/8 @ 1/400th, ISO 200

I don't need to go into great detail about the D70. I've written about using it on and off in this blog over the years. And I've championed using 'older' cameras and not upgrading 'just because' you want to have the latest and greatest.

But hey, I'm also not here to tell you that the D70 is going to be my main digital camera going forward. Because it's not. Although it could. But it's not.

Because I'm also not going to deny that advances in technology are helpful. and useful, and also sometimes just plain fun. I'm very much looking forward to getting my Olympus OM-D E-M1 back from repair. I love that thing, and it's full of crazy-good tech! But it's also not the latest and the greatest in the OM-D line either.

Flax reflection. Nikon D70. f/8 @ 1/13th, ISO 200

I've said it before (and I'll say it again), nobody really makes bad cameras. Probably haven't for a very long time. We consumers (fueled by marketing hype) get hooked up on X, Y and Z. But at the end of the day, it really doesn't matter much what you use to take a photograph. And that goes for film as well as digital.

We are, as a species, quite tribal - sometimes in the extreme. We like to cheer for our team. Unfortunately, sometimes this gets out of hand, and we loose perspective. Can anyone say dual card slots?!

YouTube is rife with 'Is 'X' camera still good in 2021' type videos, and I have to say that they 'do my head in'. The answer, in ALL cases, is YES! Every camera is still good in 2021 - depending, of course, on your use-case. The D70 will be no good for a sports shooter in 2021. But it was also no good for one in 2004. There were better choices then, and there are better choices now. Just use some common sense people! Please!!!

Olympus OM-D E-M10 initial thoughts

It's mid-winter here in New Zealand as I write this, and on the West Coast of the South Island where I live that usually means cold and wet - very wet. Not ideal conditions for taking your newly acquired (non weather-sealed) camera out for a test run.

Fortunately, some decent weather was forecast for the weekend just gone. On Sunday afternoon I managed to get out for an hour and go for a walk with my wife, and friends of ours, on a local beach. Not ideal weather conditions (middle of the day under bright sunlight), but good enough to make a few 'test' images on the OM-D E-M10.

What Wind? Olympus OM-D E-M10 with Zuiko 12-50mm EZ. f/5.6 @ 1/800th, ISO 200

First of all, let me just remark on how small this camera is. Because it is. Tiny. Weeny. Itsy, bitsy. Petite (you get the idea).  Is it too small perhaps? (Oh no, here we go...). 

Well, umm, yeah. Actually I think it is a wee bit too small. For me. The controls - especially the two top control dials that incorporate the shutter button, feel just a little too cramped for my liking. And I only have medium-sized hands for a bloke. So rather than the camera molding comfortably in my hand (like the E-M1 does), I find myself clutching at the camera with almost a claw-grip. Not something that I think would be overly comfortable - or even sustainable - for a long period of shooting.

Handling is improved with the ECG-1

But hang on. Before I give the impression that I've dismissed the E-M10 already, all is not lost.

Because, together with the E-M10, I also managed to pick up the Olympus ECG-1 grip, made specifically for the E-M10. And as you can see in the photo at left, the size of the grip, and the camera itself, is significantly increased with the grip attached.

Does it solve the cramped handling issues entirely? No, it doesn't. It's still certainly nowhere close to E-M1 comfort. But it does help. And for me, at least, the addition of the ECG-1 turns the E-M10 from a no-go, into a small, light and useable camera.

I do realise that the small size is actually a bonus for many people, and for a lot of users the addition of the ECG-1 would be a rather pointless exercise. And that's what makes these type of grips such a good idea. Get it, and use it, if you want to 'bulk' the camera out a little - or don't.... The choice is yours.

I'm actually very impressed with the way Olympus has engineered the ECG-1. Many other hand grips that screw into the tripod mount at the bottom of the camera need to be removed constantly if you want to replace the battery and or memory card. Either that, or they simply machine a very large hole in the base of the plate so the grip doesn't cover the battery door (my Fuji XE-1 grip was like this). Olympus have cleverly gotten around this by creating a latch that lets you unclip the main part of the grip to expose the battery/SD compartment, and then simply snap it back into place once you've finished. It's such a simple, yet ingenious solution. To me, it's yet another example of a camera being designed by photographers rather than engineers.

Rapahoe Beach. E-M10 with Zuiko 12-50mm EZ. f/7.1 @ 1/400th, ISO 200 

So with the grip attached, I can live with the ergonomics. And the rest of the camera is fine button-wise. I probably wouldn't want to wander around with it in my hand for hours. But then again, I'm unlikely to. When I use it as my 'travel' camera, it will more than likely sit in a camera bag for 90% of the time, and I'll just take it out to shoot a few images and then pop it away again. It's how I tend to 'roll'.

In terms of using it as a 'back-up', or in conjunction with my E-M1, it's absolutely perfect. The menu system is practically identical - a very seamless control and set-up between the two. And the IQ (image quality) is darn near identical (in fact it probably is). Which means I'm more than happy with the dynamic range, colour, sharpness and clarity coming out of the E-M10's files. And when you get right down to it, isn't that the ultimate point?

Wave forms, Rapahoe. E-M10 with 12-50mm EZ. f/6.3 @ 1/2000th, ISO 200

So I've got no complaints with the actual images this camera produces. And I can live with the ergonomics with the ECG-1 grip attached. All pretty positive stuff. 

And that's where I'll leave my initial review - on a positive note. Because it is - on the whole - a positive experience shooting with the diminutive E-M10. Even having said all that I have about it's small size and cramped feel, once I started shooting with it, all that nonsense went away, and I just immersed myself in the process of taking pictures.

Sure, the 1.4MP EVF is a noticeable step down from the 2.3MP EVF on the E-M1 - but is it unusable? No, of course not. And the E-M10 may have 'only' 3 axis image stabilization - but so what? I never rely on IS for sharp images anyway - even the 5 axis magic in the E-M1. It may 'only' shoot at 1/4000th top speed (compared to the 1/8000th of the E-M1), and top out at 8fps. But so what? I ain't using it for sports anyway.

Out for a walk. Olympus OM-D E-M10 with Zuiko 12-50mm EZ. f/7.1 @ 1/400th, ISO 200

At the end of the day, what the Olympus OM-D E-M10 is, is a superbly crafted camera that can capture beautiful images in a small, compact form factor. Ideal for travel and on-the-go photography. And it's also the personification of the micro four thirds concept. A 'big enough' sensor, in a 'big enough' body, that takes more than 'good enough' images.

That's 'good enough' for me.