Lens Test Panasonic Lumix 45-150mm f4-5.6 OIS

LENS TEST REPORT

Panasonic Lumix 45-150mm f4.0-5.6 OIS

comparison with Olympus 40-150mm f4.0-5.6

Budget midrange zoom lenses for Micro Four Thirds System

Author AndrewS  November 2012

Introduction   The 45-150mm is Panasonic's third midrange zoom lens for the Micro Four Thirds System.  First came the 45-200mm OIS. I bought and used  two of these over the years and found both to be very good performers in the 45-100mm focal length range. But towards the 200mm focal length they lost contrast, sharpness and focus accuracy with distant subjects. In addition the 45-200mm is larger and twice the weight of the new 45-150mm. Next up was the 45-175mm power zoom lens which appears to have been intended mainly for video applications. I bought one of these last year and had to return it to the vendor. It produced severe blurring with double imaging in the 1/20-1/200sec shutter speed range with OIS on or off, hand held or tripod mounted. This is the lens which alerted me to the issue of shutter shock blur. I do not know whether Panasonic has rectified the blur problems with this lens.

Panasonic Lumix 45-150mm f4-5.6 lens on Panasonic G5 camera

So we come to the 45-150mm. If this lens had appeared a few years ago it might have been hailed as a near miraculous optical, electronic and mechanical achievement. But us consumers get a bit blasé about the march of technology and tend to regard it now as  just another budget zoom.  I have discovered it to be a very good lens and the fact it is available over the counter retail in a street front camera shop in the Sydney CBD for only $300 seems quite remarkable to me.  It comes supplied with a lens hood, which can be reverse bayonet mounted.

Description  The 45-150mm is a very compact, light, general purpose midrange zoom which is often bundled in a twin lens kit with the G5 camera.  It is smaller than the other two Panasonic mid range zooms, but with less zoom range,  and even smaller than the Olympus 40-150mm zoom. It weighs 195 grams bare and 225 grams with front and rear lens caps and 52mm UV filter. Build quality appears to be excellent. The zoom ring operates very smoothly as does the focus ring.  The lens mount is metal.  The front section which takes a 52mm filter, does not rotate with zoom or focus. Like most, posibly all M43 zooms this one is a varifocal which means it must be refocussed after zooming. There are no distance  markings or interface modules on the lens barrel. I find the absence of OIS ON/OFF  and AF/MF switches disappointing as I prefer to have these  functions on set and seemodules on the lens barrel where I can see and adjust  them easily without having to enter the Q menu. I guess their absence helps keep the cost down.  My copy is clean with no dust or other foreign body having yet appeared inside the glass. As with other Panasonic lenses with OIS the 45-150 rattles when shaken from side to side when unpowered.

On the left, Lumix 45-150mm on G5 body, On the right Olympus 40-150mm on GH2 body

Performance, mechanical

Focus   On the G5 body AF single is fast and accurate in a wide variety of conditions. In several hundred test photos which I made for this review, almost all  the AF single shots were in focus on the active AF area.  My notes do record a slight tendency to misfocussing at 150mm with distant subjects, but even there the great majority of frames were in sharp focus.  I also ran several tests with the G5 set to AF Continuous and M Burst Mode [4fps] on moving subjects with the lens at 150mm. About 70% of frames of moving vehicles and board surfers were in sharp focus, given a fairly steady rate of subject progress and good light. In lower light levels follow focus on a moving subject was less reliable.  Manual focus with MF assist is easy to achieve. 

Both lenses zoomed out to 150mm

Optical Image Stabiliser (OIS)   I ran several tests of OIS effectiveness, with mixed results. The most unambiguous benefit of OIS is to steady the EVF preview at the long end of the lens. Otherwise I got results which differed from one test run to the next. In fact I found that the effects of camera shake, shutter shock, OIS and eShutter  were very difficult to untangle in my test schedules. On some test runs at 150mm I got sharp frames with OIS on at 1/10 and 1/13, blurring at 1/15-1-30 then sharp again from 1/60 up. The runs of the same subject with OIS off produced very blurred frames at 1/10-1/13 as expected but inconsistent results in the range 1/40-1/200. Overall with OIS switched on, there was a modest but inconsistent tendency to sharper frames in the shutter speed range 1-2 stops slower than the inverse of [focal length]x2.

Shutter Shock and eShutter  I obtained variable results for image sharpness in the shutter speed range [1/20-1/200sec] previously identified as potentially being affected by shutter shock. When hand held I found occasional but inconsistent advantage to using eShutter in the range 1/20-1/200. On a tripod the picture was clearer with definite advantage to use of the eShutter from 1/30-1/200sec. Does handholding act as a damper for shutter shock ? Perhaps, I'm not sure but it seems possible.

Waterfront apartments. Lumix 45-150mm at 150mm f5.6, hand held, OIS on, eShutter. The apartments are 500 meters from the camera. The file will have suffered from downsizing and compression  for the internet but on the original you can see individual leaves on trees behind the apartments. The out of focus boats and piers are smoothly rendered.

Performance, optical

Sharpness/resolution  I checked this at two distances as I have found a lens will often perform better with close than far subjects or vice versa. I used a simple test chart at  40x focal length and a stand of casuarina trees with uniformly fine foliage at  1000x focal length. I tested the Panasonic 45-150mm alongside the Panasonic 14-45mm, Panasonic 100-300mm and Olympus 40-150mm at comparable focal lengths. I was also testing the Panasonic 12-35mm f2.8 at the same time so I had that as a benchmark.

To cut a long story short, the Panasonic 45-150mm and Olympus 40-150mm gave virtually identical results across the focal length and aperture range.  Both performed well on the test chart and trees. The Panasonic 100-300mm was just detectably  better at 100 and 150mm in the casuarina trees but not on the test chart. Results for the 45-150mm were very good across the focal length and aperture range with no weak  areas detected on my copy and no decentering. Corners were a little softer than the center but tidied up well with 1/3 or 2/3 stop smaller aperture in most cases. The exception was at 150mm which seemed best wide open at f5.6 on most of my test runs. In fact f5.6 appeared to be the best aperture for the 45-150mm at all focal lengths.   Fine detail resolution across the frame with the 45-150mm was less than the 14-45mm which in turn was slightly less than the 12-35mm. Rendition of fine surface textures is good but not up to the standard of the 14-45mm and noticeably  less crisp than the 12-35mm.

House and garden about 50 meters from the camera. Lumix 45-150mm at 45mm. Hand held, OIS and eShutter on. On the original file you can see a wealth of fine detail right across the frame and into the corners.

Chromatic aberration and purple fringing  CA from Pansonic lenses is corrected in Panasonic cameras so CA is not an issue on the G5. Neither did I find evidence of purple fringing. The story might be different on an Olympus camera. Panasonic lenses often prove to have significant CA which is not corrected by Olympus bodies.

Corner Shading  is quite apparent at the widest aperture, becoming less apparent as the aperture is reduced 1-1.5 stops.

Drawing  There is mild barrel distortion at the wide end and mild pincushion at the long end.

Bokeh  Rendition of out of focus subject elements in front of and behind the subject in focus is smooth and unobtrusive.

Contrast/microcontrast This is clearly less than is delivered by the 12-35mm and 14-45mm lenses but responds well to a little Contrast/Clarity tweaking  in Adobe Camera Raw.

Hand held flower shot with a closeup filter

Flares  The lens handles sun in frame well with mild veiling flare. With the sun at frame edge or just out of frame it is easy enough to provoke veiling flare and  green spots with or without magenta flares. None of this is a problem unless one is deliberately trying to provoke flares, however regular use of the lens hood would be prudent.

Close up  The closest focus distance is 790mm measured to the sensor plane. Image quality is good across the frame at this distance. The Olympus 40-150mm will focus to 670mm but at this distance the frame edges are very blurred so the lens is not really useful. The Panasonic 45-150mm will accept screw on close up filters. I tried a Nikon 3T with the lens at 75mm giving decent quality photos of small subjects such as flowers.

Suggested strategy for sharp results

On tripod  This lens is a good match for the Panasonic G5 camera which offers eShutter which is definitely useful with the camera on tripod.  Switch OIS off and eShutter on, use remote shutter release or timer delay. eShutter is not available for shutter speeds longer than 1 second.

Hand Held   Switch OIS on. Where possible use a shutter speed equal to or faster than the reciprocal of [focal length]x2.  This is 1/100sec at the wide end and 1/320sec at the long end. Experiment with eShutter if your camera has it, using your own technique. Do not expect OIS to compensate for unsteady camera holding.

Conclusion  When the Micro Four Thirds System was introduced about four years ago it promised to deliver imaging performance similar to that of  traditional 35mm cameras but in a much more compact package. With lenses like the 45-150mm, M43 delivers on that promise. This lens is small, light and  inexpensive yet is able to deliver very good results with a variety of subjects and conditions. It would make a good companion to the excellent Panasonic 14-45mm standard zoom on a Panasonic body with eShutter.  [only available on the G5 and GH3 as I write] For an Olympus body the Olympus 40-150mm lens might be more suitable.

Panasonic G5 Camera Ergonomic Review

PANASONIC G5 CAMERA

An ergonomic review, commentary

and comparison with the Panasonic GH2 and Olympus EM5

Author  AndrewS  November 2012

Panasonic G5 with 7-14mm Ultrawide Zoom

Introduction    The G5 is Panasonic's seventh Micro Four Thirds Lumix G-with -EVF camera [the GH3 when released will be the eighth] and the fourth that I have bought and used.    My first was  the G1, then the G3, GH2 and now G5. This year I also bought and used for several months an Olympus OMD-EM-5.  I have posted ergonomic reviews of the GH2 and EM5 on this blog.  My main interest in writing about cameras and the purpose of this blog, is to draw attention to ergonomic issues in the design and use of photographic equipment so this report will concentrate on ergonomics with some reference to image quality and performance as these have a substantial influence on the user experience. 

The G5 had a low key market release with most of the Micro Four Thirds headlines being grabbed by the Olympus EM5 and the soon to be released Panasonic GH3.  However the G5 is a quiet achiever with  small but significant improvements in features, image quality, performance and ergonomics compared to previous Panasonic M43 cameras.

Description and Features  The G5 sits in the mid range of Panasonic's M43 lineup with features designed to appeal to both beginner and expert users.  The beginner/snapshooter can push the iA button with it's glowing blue ring and enjoy fully automatic camera operation. But this camera has a great deal more to offer  the photographer prepared to take control of the image capture process.  It is smaller in all dimensions than the GH2 but slightly easier to hold and operate due to improved ergonomic design. The G5 provides much better ergonomics than the  G3, in particular related to holding the camera and operating the scroll wheel.

Right hand grip on the G5. A comfortable hold without cramping

Some of the G5's features are worthy of note. The electronic two way level indicator works well and I find myself using it quite frequently, especially with the camera on a tripod. It can be cycled on or off with the [Disp] button so it doesn't clutter  up the screen when not wanted. The new electronic shutter  provides  vibration free and silent image capture when required. It is effective in preventing Shutter Shock  which I have written about elsewhere on this blog. The e-shutter takes 0.1 seconds to scan the frame so it cannot be used with flash and may produce distortion in subject elements which move relative to the camera during the scan. It is also, for reasons unknown to me, restricted to a maximum ISO of 1600 and a longest shutter speed of 1 second.

The G5 has a Function Lever just behind the shutter release button. With no PZ lenses to be zoomed so I set the Function Lever to adjust exposure compensation. The rear dial performs all the usual tasks assigned to a mode dependent scroll wheel. A task/time/motion analysis shows that I use the Rear Dial about 50 times as often as the function lever. The camera nails correct exposure almost all the time in general photography so there is infrequent need for exposure compensation. Operational efficiency could be improved if the functions of these two  user interface modules (UIM) could be interchanged. How so ?  Because the right index finger is the one most suited to operate a main scroll wheel. Why ? Because it is the only finger on either hand which never has to take part in camera holding and support duty.  Presumably this improvement could be achieved in firmware. 

G5 Rear.  Compact but well designed user interface

I am unable to say much about video or touch screen controls as I use neither, except that touch screen drag and drop actions are required to configure the Q Menu to personal requirements. The camera has various touch screen functions including [Touch Pad AF] which operates with EVF view. This works as advertised and may be of interest to some people. I found the fingers required to operate the function (literally) got in the way of normal camera operation. In addition right eye viewers have to stop holding the camera with the right hand to get the right thumb across to the monitor screen and left eye viewers have to stop supporting the lens with the left hand to bring the left thumb or other finger around to the rear of the camera and across the monitor screen. I found it much easier and less disruptive to the flow of image capture actions to switch off the [Touch Pad AF] function and just use the 4 way controller in [Direct Focus Area] mode for changing AF area position and size.

Like other Panasonic cameras the G5 has two digital zoom fcilities,  [Ex Tele Conv] and [Digital Zoom]. Both work well and deliver decent quality JPG images although the [ExTeleConv] permits normal control of active AF area size and position which is useful.  I have nothing to say about Scene Guide Modes or Creative Control Mode.

Scroll Wheel serrations need more projection and sharpness

Image Quality    G5 RAW files converted in Adobe Camera Raw 7.2  at default settings, show slightly less noise across the ISO spectrum than those from the GH2, with equal sharpness. The difference is most marked in dark tones where close inspection shows that G5 files have more detail and less noise.  The same files have a more neutral, less blue shifted color balance. In Multi Area Metering Mode the G5 will often give 1/3 stop more exposure than the GH2, leading to brighter mid tones.  There is also with many subjects a different histogram curve shape, that of the GH2 being slightly biassed to the left. This means the GH2 allocates more image content  to the dark tones, which inherently contain more noise than light tones. When, as is often required,  those dark tones are pulled to the right with the Shadows slider in ACR the result is that more noise becomes evident in in the final image.  When used to photograph a standard Kodak Gray Card using Auto WB the G5 typically produces files which average 128 brightness at the frame center in ACR 7.2 with the red, green and blue channels exactly superimposed. The GH2 Gray Card files average 116 in ACR but with the blue channel to the right of the other two. In  plain language this means the G5 RAW files have lighter mid tones and more accurate white balance.

DXO Mark rates the G5 as having more Dynamic Range than the GH2 but in test photos of subjects with high brightness range, I could not convince myself of any significant difference in DR  between them. Overall, the G5 provides a modest improvement in image quality over the GH2 but is not quite up to the Olympus EM5. 

JPG files show loss of  fine texture and detail from ISO 160, with color shifts, notably in the blues. Hi ISO JPG's exhibit watercolor effect with loss of color, contrast and detail.

I find RAW files processed to "best result" in ACR to be more appealing. Sharpness and texture are better preserved by leaving a bit of grain in Hi ISO images.

Surfer. Captured with G5,  Panasonic 100-300mm lens at 300mm and 1.4x Ex Tele Conv

Performance  In single shot single AF mode, pressing the shutter for each frame, the G5 will shoot 6 RAW files in 3 seconds, with live view, AF and AE on each frame, using a SanDisk 95 MB/sec card. The frame rate slows markedly at 8 exposures, presumably due to the buffer having filled at this point.  At M burst rate, with EVF preview on each frame and Large Good Quality JPG files, with the shutter held down, the G5 will fire 20 frames in 5 seconds [4fps] while the GH2 manages 20 frames in 6 seconds [3.3 fps].  So the G5 does have a slight edge in continuous shooting speed [JPG].

In general I can say that the G5 regularly gets the following important performance markers right:

* Auto ISO: The camera adjusts ISO to prevent shutter speed falling into the camera shake range and allows a slower speed if  OIS  is on.

* Auto Exposure: In general photography the camera selects an exposure to protect highlights if possible within the camera's dynamic range, while maintaining a well balanced range of middle and dark tones. The user still has to think about exposure compensation with subjects having mostly dark or mostly bright tones, as with any other camera.

* Auto Focus: In single shot, single area mode,  G5 AF  is fast, sensitive accurate and reliable. AF speed slows a little in low light but is still commendably prompt and accurate. I have the AF assist lamp turned off as it is rarely needed. In continuous drive, burst rate M using continuous AF, the camera can easily follow focus on moving cars in bright light, with a high rate of sharp frames..  Of the lenses which were available to me at the time of testing  the Olympus 40-150 mm scored a higher percentage [80%] of sharp frames than the Panasonic 100-300 mm [30%].  I had previously discovered with the GH2 and EM5 that the Olympus 75-300 mm and 40-150 mm lenses are more responsive in follow focus situations with fast moving subjects than the Panasonic 100-300.  The Panasonic can keep up with more slowly moving subjects such as board surfers.

I discovered while testing the camera that the active AF area can be set anywhere in the frame including the extreme corners.  I tested AF accuracy over the whole frame area. I divided the frame into five horizontal strips (with the camera in landscape orientation). Autofocus anywhere in the top four strips was accurate. But AF anywhere along the lowest strip adjacent to the bottom of the frame, was inaccurate, with blurred results. I did the same test with a Lumix GH2 with the same result. The G5 and GH2 are said to use the same sensor so I may have uncovered a generic problem. I have not seen this reported elsewhere.

Ergonomics

Holding  The G5 body and handle have more curves than previous G cams to better match the hands and fingers which have to hold and operate the device. The center of the shutter release button is inset 22 mm from the right side of the body, while that of the GH2 is inset only 17 mm. The handle is of hybrid parallel/projecting type with a more overtly sculpted shape to accommodate the fingers. The right shoulder is raised so that even though the G5 is lower overall than the GH2, it's Shutter button is 3 mm higher and is angled forward more. The thumb rest on the G5 allows the right thumb to angle across the camera unlike the GH2 which forces the thumb to sit vertically on the right edge of the control panel.  On the G5, this opens up the angle between the thumb and index finger allowing the hand to adopt a more natural posture which can grip the camera with less effort.   Any one of these changes in isolation would not amount to much but together they make the G5 more comfortable and secure to hold than any previous G cam or the Olympus EM5.  This is a significant ergonomic achievement because all the G cams to date [pre- GH3] are at the lower limit of size compatible with good holding by adult hands. This usually means further size reduction has a deleterious effect but in this case the G5 is smaller in all dimensions than the GH2 but handles a little better. Not dramatically better [the GH2 is not bad]  but enough that when both bodies are available to me as is the case right now, I choose the G5.

Viewing  The G5 has very pleasant viewing arrangements with an excellent EVF and nice clear swing out and swivel monitor. The rubber eyecup of the G5 is wider and a little more comfortable than that on the GH2. The EVF jitters when panned in low light. The on [or under, depending on Display Style]  image data displays are comprehensive and easy to read. Both  the EVF and Monitor can be configured to have the same appearance providing a seamless transition from one to the other with auto eye sensor switching.

Operating

Setup Phase   The menu system is extensive with the function of some options requiring a visit to the operating instructions for explanation. The plethora of options could be daunting at first but study and practice pay dividends.  The G5 menus are less convoluted and puzzling than those on the Olympus EM5. As with other modern electronic cameras the function of many user interface modules [buttons, dials etc] can be selected from a long list which means that each user can, in effect,  build themselves a camera to suit personal requirements. Here are the settings which I use however others will choose different functions for the UIM's.

* Function Lever: Exposure Compensation.

* Motion Picture Button: Off.

* iA button: I would set this to Off  if  that were available as I never use iA but to prevent accidental activation I have it set to activate only with press and hold.

* AF/AE Lock/Fn1: Autofocus start/lock.

* LVF/LCD/Fn3 Button: eShutter. Automatic switching between EVF and Monitor with proximity sensor.

* Cursor Buttons [4 Way controller]: Direct AF area. This means the cursor buttons directly move the active AF area. You do need to press any one of the quadrants to activate the function.

* Delete/Return/Fn2: ISO.

* Touch Screen: Off.

Prepare Phase  Items in the Q Menu can be user selected/deleted which means each user can configure Q Menu to their own requirements with those  items required but no others. Fewer items in the Q Menu means faster location and selection of each. I recommend removing infrequently used items from the Q Menu. They can still be accessed from the Main Menus when needed. The graphical interface of the Q Menu is very nice, with two or three tiers of submenus on a single screen for easy location and selection of options.

I have only four functions on the Q Menu: OIS, Image Quality, Focus  Mode, and Drive Mode.

The Mode Dial is of standard type. There are C1 and C2 positions on the Mode Dial for custom presets. This system works well and is useful. It is more user friendly than Olympus EM5 Mysets. The Panasonic system always provides an immediate visual reference to the C position on the Mode Dial whereas the Myset system involves much button pressing and does not indicate the Myset in use by any means at all. When current camera settings are saved to a Custom position on the Mode Dial [C1, C2.1, C2.2 etc] the camera will save ALL current settings of every description. They can be subsequently altered at will of course while using the camera and will revert to the saved settings when the camera is switched off then back on or the Mode Dial is moved to a different setting then back again.   I use the Custom sets as below, users can choose any other combination of settings.

* C1: [Sport/Action] Image Size L, Quality Fine JPG, ISO Auto, AF Continuous, Burst Speed M, Shutter priority 1/800 sec [initial setting].

* C2.1: [Tripod, Landscape] Image Quality RAW, Timer 2 sec, eShutter On, ISO 160, AF single, Drive Mode Single, Aperture priority f5.6  [initial setting].

* C2.2: [ExTeleConv] Image Size M, Quality Fine JPG, ISO Auto,  AF Continuous, Burst Speed M, , Shutter priority 1/1000 sec [initial setting].

Capture Phase  Position and size of the active AF area can be changed quickly and easily with one's eye to the EVF.  Current Exposure Mode, ISO, Aperture, Shutter Speed and EV+/- are clearly displayed in the EFV or monitor and are easily and quickly changed while viewing through the EVF. The camera permits considerable individual choice of button function allowing it to be configured to individual requirements. The AF/AE Lock button can be set to start/lock autofocus which allows the operator to separate AF from AE and capture. The button itself is well placed for easy operation while eye level viewing with much less [compared to the GH2] flexion of the thumb interphalangeal joint and the metacarpo-phalangeal joint.  All this means less derotation of the base of the thumb and better maintenance of grip on the camera.   Compared to the GH2,  there has been a subtle but ergonomically significant reshaping of the upper rear  section of the camera body and a reduction of the amount by which the monitor frame stands proud of the body.   One needs to spend time with both cameras [and I mean weeks, not just a few minutes]  to appreciate the benefit of these changes.   The 4-Way controller is of a modified "Rocking Saucer" design which is a substantial  improvement on the "Five Buttons" type found on the GH2 [and other cameras]. It could be further improved if the top, bottom and left edges were raised slightly to make them easier to locate by feel.  In general the camera is a pleasure to operate. The user interface modules [UIM, buttons, dials etc] are mostly well located and designed with a few caveats, see below.

Review Phase  The G5 has fairly standard arrangements for image review which works well enough. Adoption of the Olympus EM5 system would be an improvement, however. This enlarges the review image centered on the point of focus and allows scrolling between enlarged frames.

Update: 18 November 2012. Reader Brad C has discovered how to scroll between enlarged frames using the GH2 and G5 cameras. Enlarge the review frame and move the desired part of the frame to the center. Then press the scroll wheel until it clicks. A little circle symbol with two arrow markers appears in the lower right corner of the review frame. You can now scroll from one enlarged image to the next with the arrow keys.  Thank you Brad. 

Grumbles and suggestions for improvement   The G5 has, compared to some other cameras I have tested,  relatively few  ergonomic frustrations but there are some  items which could be improved.

* Buttons: For those of us who don't use video it would be nice to have the option to assign some other function to the Motion Picture Button.  It is in the right spot for an ISO control.  Likewise the [iA] button for those who would prefer to use this for something other than it's manufacturer assigned function.

* 4-Way controller: As already indicated this is much easier to operate by feel than the "Five Buttons" type on other cameras, but I have found I sometimes hit the right side inadvertently while handling the camera. This is a fairly common problem on small cameras with a narrow control panel area.

* Scroll Wheel [Rear Dial]:   The rear dial on the G5 is similar to that on the GH2  but moved to the right to allow the larger thumb rest. As with the GH2, the serrations on the dial are quite rounded in profile with a curved, smooth surface. The dial would be easier to turn if it had a sharper serration profile and slightly more prominent exposure outside  the body. 

* Multi Aspect Ratio Sensor: I found this feature on the GH2 very useful and used it frequently. So I was disappointed to see it missing from the G5 even though the two cameras are rumored to use the same basic sensor.

* Memory Card in Battery Compartment:  This is a minor issue but when one is using a camera frequently it is more convenient for the card to have a dedicated compartment on the handle side of the body.  

Conclusion   The G5  is compact, light and moderately priced, yet delivers good image quality, good performance and decent ergonomics. It is one of the few cameras which I appreciate more with ongoing acquaintance. Considering it's compatibility with  the extensive and growing lineup of lenses suitable for M43 cameras, I rate the G5 an easy camera to recommend. I had  the opportunity to use then chose between the G5, GH2  and EM5 as the basis for my my main camera kit and chose the G5.  I made this decision on the basis of the G5's more use friendly interface and ergonomics even though the EM5 has slightly better image quality.

 

Banish Shutter Shock Blur

BANISH  IMAGE BLUR DUE TO SHUTTER SHOCK

Panasonic G5 eShutter fixes the problem

Author AndrewS  November 2012

Introduction   This is the third article I have published on this blog about the effects of shutter shock on image sharpness in mirrorless interchangeable lens cameras and Micro Four Thirds cameras in particular.

In my previous report of the issue, I predicted that the eShutter now available on the Panasonic G5 camera would solve the problem.  It does.

Test   I repeated the previous test protocol. Panasonic G5 camera, Panasonic 100-300 mm lens at 300 mm, tripod mounted, 2 second timer delay, Shutter Priority mode, AF on each frame, OIS off.  Shutter speeds ranged from 1/5 sec to 1/800 sec. I made one series with the mechanical shutter, a second series with eShutter.

Results  With the mechanical shutter slight softness began at 1/40 sec, becoming more marked at 1/50 sec. Worst results with blurring and image doubling ocurred at 1/125 and 1/160 sec, just as previously reported with the GH2 and EM5 cameras.

With the eShutter all the frames were sharp. In the range from 1/20 to 1/40 sec the eShutter files were slightly sharper than those made with the mechanical shutter.

Conclusion  eShutter works as expected.  I recommend use of the eShutter for shutter speeds between 1/20 and 1/200 second. I use the eShutter whenever the camera is on a tripod.

Mechanical shutter, 1/160 sec

eShutter, 1/160 sec

Disadvantages of the eShutter  The eShutter works by scanning the frame, a process taking 0.1 second. As a result any subject which moves in relation to the camera during the 0.1 sec scan may exhibit shape distortion. For the same reason electronic flash cannot be used. [flash duration is much shorter than scan time]. In addition for reasons unknown to me maximum ISO is limited to 1600 and  the slowest shutter speed available is 1 sec.  

M.I.L.C. Gap Filler or Disruptive Innovation ?

THE  MIRRORLESS  INTERCHANGEABLE  LENS  CAMERA  [MILC]

GAP  FILLER  OR  DISRUPTIVE  INNOVATION ?

By AndrewS  December 2011

Revised with postscript November 2012

The Panasonic Lumix G5 is a capable Micro 4/3 type MILC

This article was originally published on the Digital Photography Review website in December 2011, in the section for user created articles, under my DPR  user name axlotl.

It is a speculative opinion piece created to explore some issues not often discussed on photography blogs and websites.

Excerpts from Wikipedia 2011, under  "Disruptive Innovation"

A ...... disruptive innovationis an innovation that helps create a new market  and value network and eventually goes on to disrupt an existing market and value network (over a few years or decades), displacing an earlier technology.
In contrast to disruptiveinnovation, a sustaining innovation does not create new markets or value networks but rather only evolves existing ones with better value, allowing the firms within to compete against each other's sustaining improvements.
Christensen and colleagues have shown .......... that good firms are usually aware of the innovations, but their business environment does not allow them to pursue them when they first arise, because they are not profitable enough at first and because their development can take scarce resources away from that of sustaining innovations (which are needed to compete against current competition). In Christensen's terms, a firm's existing value networks place insufficient value on the disruptive innovation to allow its pursuit by that firm. Meanwhile, upstart firms inhabit different value networks, at least until the day that their disruptive innovation is able to invade the older value network. At that time, the established firm in that network can at best only fend off the market share attack with a me-too entry, for which survival (not thriving) is the only reward.

Here is a brief excerpt from a recent interview with a Canon representative about the company's position on mirrorless interchangeable lens cameras:  From Impressjapan magazine, via mirrorlessrumors.com  dated 19 December 2011.

 Will you be releasing a mirrorless camera?

...... we are challenging ourselves to make DSLRs that are smaller, and compacts that have better image quality. So you have to ask if a mirrorless product is really necessary to fill the narrowing gap. Of course, we are more than capable of making a mirrorless camera, if we decide to.

Canon appears to believe  the Mirrorless Interchangeable Lens Camera (MILC)  is a "Gap Filler", something inbetween  compact and  DSLR.

In a recent edition of  the Australian magazine ProPhoto the editor, Paul Burrows commented......" we've been seeing a steady dumbing down of  CSC's, partly as a result of making them smaller and partly because the idea persists that snap- shooters really hanker after interchangeable lenses, but apparently little else of what comes with an entry level D-SLR".
In the same magazine, Mr Burrows also wrote.   "There seems to have been quite a bit of confusion among the manufacturers - or more accurately, the marketers- of compact camera systems about who exactly is the target customer".
I agree with this and would add  that in it's current form the MILC appears to be an answer without a clearly expressed question.

My perception is that there are, in the operational sense, two main types of camera user. The majority are snapshooterswho are too busy enjoying life to bother about changing lenses or wondering what an f stop might be. Many of these people take photos with a phone cam. Some still like to use a compact camera. Some  use a DSLR  or MILC  set to one of the fully automatic modes.
The other camera user group is the controllers. These people do like to change lenses, fiddle with shutter speeds, adjust f stops and experiment with all the interesting options available on an advanced camera.
So what does this mean for the mirrorless interchangeable lens camera ?  What follows is my reading of the situation, others will have their own views. In due course the market will decide. 
The MILC may look like a "Gap Filler" right now.  But with further development it has the potential to become a genuinely disruptive innovation leading to real change in the market for interchangeable lens cameras.

So, which segments of the market are in line to be disrupted ?  Basically, all those with interchangeable lenses.
Medium format  DSLR   The larger the sensor, the  greater the  potential for size and weight reduction by removing the mirror box, prism, etc..  etc of a DSLR.  So I think that if some maker has enough courage to make the investment and if they get the product right, then mirrorless will become the preferred option for medium format, using a square sensor, live view monitor and touch screen controls for use on a tripod, which is the way these cameras are usually supported.
DSLR with full frame sensor,   43 mm diagonal  Same argument as above. This type of camera would handle even better with a 36 x 36 mm sensor and electronic selection of  landscape/portrait framing, so there is no need to flip the body over for portrait framing. This would be a hand held camera for reasonably still subjects, requiring a high quality EVF and a sufficiency, but not a profusion,  of hard controls.
DSLR  with 27-28 mm (diagonal) sensor  Most DSLR's have a sensor this size.                 At present the MILC offers some things not managed very well by the DSLR,  such as full time live view, the benefits of EVF and accurate contrast detect AF.  But most of them take away other things like predictive AF and the benefits of OVF.  The MILC can be smaller than a DSLR  but the size difference with lens mounted is not compelling and in any event, cameras which are too small usually suffer from compromised handling and control.
Compact    I think that if  mirrorless ILC's continue their present attempts to compete with compacts, they will fail.    I think that when snapshooters get over the  newness of the MILC they will revert back to compacts or abandon cameras altogether in favour of phone cams.   Why ? Because, for any given box size (width x height x depth)  a compact with a fixed, collapsing zoom lens can have more zoom range or greater aperture or both, than a body with mounted interchangeable zoom lens and a smart phone trumps most cameras for compact size and "always ready" availability.

I believe the MILC has to tackle the DSLR  category  head on and win or become a lost cause.   In order to succeed in this task the MILC has to do everything  better than the DSLR.
Everything  means everything.  Image quality, operating speed,  responsiveness, EVF appearance and refresh rate, single frame AF,  predictive AF,  handling qualities, controls,  lens selection and more. To really disrupt the market all this has to be available to consumers at an attractive price point.

This is one of my wooden MILC mockups.  The shape, size, handle design and UIM layout have all been designed  by working directly with wooden pieces to provide an ergonomically eficient device with compact dimensions. This mockup's box size [Width x Height x Depth] is 605 cc which is actually smaller than the Panasonic G5 shown above [box size 722 cc] Yet the mockup has a larger handle and larger UIM's throughout. I would like to see the makers of MILC's use this camera body shape in preference to the mini DSLR shape for it's greater ergonomic efficiency and ease of holding, viewing and operating.

Responding to the challenge   To generate interest from the snapshooter crowd seeking better image quality than a phone cam, camera makers could make large sensor compacts with fixed zoom lenses. The Micro Four Thirds or Nikon CX size sensor could form the guts of a category killer advanced compact. Sony has already entered this arena with the RX100 compact, recently voted one of the best 50 inventions of 2012 by Time Magazine.
 To keep the controller group happy and push DSLR's off center stage in the interchangeable lens market MILC's  need  to develop a multi tier product line.   At the bottom are the very compact ILC's without EVF, at the top there are pro style high performance cams with the ergonomics, capabilities and lenses required for professional use.   These have an ergonomic handle, thumb rest and control modules  for users who elect to operate the device with their hands. Oh........right.........that would be all of them........ 

Canon and Nikon will keep  selling boatloads of  DSLR's, in the process competing with each other within the envelope of sustaining innovation until the day someone delivers to the market an MILC which beats the DSLR at everything, for the same price or a bit less.  At that point the game will change forever.
The problem for the DSLR as a species is that it has  reached the end of it's evolutionary journey. DSLR's  can benefit from sustaining innovation  but the MILC brings the potential for disruptive innovation. I think that if the makers of MILC's  bring their technology, ergonomics and marketing up to speed, they will prevail.

Postscript, November 2012
The biggest disruptive innovation to hit the camera world turned out to be the phone cam which has encouraged snapshooters to abandon entry level compacts  en masse.  I still think there is a role for advanced compacts, superzooms and similar cameras which offer features and/or performance not available from phone cams.    

Canon finally released it's MILC in the form of the underwhelming, "me-too" EOS-M.  It looks and operates just like the many "no EVF"  ILC's from Panasonic, Olympus, Sony and Samsung, but  according to many reviews, focusses more slowly than any of them. Canon is promoting the EOS-M to the  customer who is urged  to  "Lose yourself in the moment, not the Manual.  Be  a PLAY- Fessional"  whatever those words might mean.  From my perspective as a consumer it appears Canon still regards the MILC as a gap filler and is slow to fully embrace the MILC as a disruptive innovation.

This is my large mockup with box volume of 882 cc which is midway between the GH2 [808 cc] and GH3 [1014 cc] It would be suitable for professional use with handling characteristics similar to medium/large DSLR's but in a much more compact package. 

There has been some discussion on blogs and user forums recently about the camera market and in particular the rate at which MILC's are, or are not, encroaching on DSLR sales. It appears MILC sales have flatlined or even declined in 2012. One possible explanation for this might be the recent aggressive discounting of entry and lower mid level DSLR's.  For instance in a popular electronics discount store in Australia today you can buy a Nikon D5100 Twin Lens kit for $847 or Nikon D3100 Twin Lens kit for $746.  But the Olympus EM5 single Lens Kit is  $1396 and  Sony NEX6 Twin Lens Kit sells for $1498. To be fair the DSLR's  are superseded models and the MILC's are the latest and presumably best of the breed.  Do the customers care ? I don't know.  But I can see that it could be difficult for the sales staff to explain why the available mirrorless cams are more expensive than DSLR's with similar specification.  I have read opinions by people who appear to know about such things that a MILC should be less expensive to produce than a DSLR as it contains fewer parts. If that is true perhaps there will come a day when the price difference operates in favour of the MILC.

 

Olympus OMD-EM-5 Ergonomic Review

OLYMPUS OMD - EM-5 ERGONOMIC REVIEW

A user review of the Olympus EM5 after two months and a few thousand images

Excellent photos,  puzzles included

Author AndrewS  October 2012

From the left, Olympus EM5 with HLD-6 handle, Panasonic GH2, Samsung NX20

Announcement and reaction   Olympus announced the EM-5 in February 2012 and quickly generated a very positive response from reviewers and early adopters.  It provoked  renewed  interest in the M43 system and in Olympus cameras at a time when Olympus really needed a good news story. For many months after it's release the camera was difficult to obtain, indicating strong takeup from buyers.

Author's background  I have discovered from my photographic experience over the last 50 years that the only way for me to really appreciate the capabilities of a camera is to buy and use it over a period of several months, making many exposures in a wide variety of conditions.  Earlier this year I bought a Panasonic GH2 then an Olympus EM5 then a Samsung NX20, each with a selection of lenses, mostly zooms as I prefer their versatility. I have been using them often side by side and often with the same subject matter. The intention was always to keep one and let the others go, as I do not care to clutter up the house with underutilised camera gear and there are budget issues to consider. By the way, I decided to keep the GH2, for reasons which I will discuss in another post on this blog. This article is a review of the EM5, with an emphasis on ergonomic issues,  but also referring to image quality and performance which obviously influence the user experience.

Market position, target user group and buyer expectations  The EM5 is Olympus' flagship ILC. It has an extensive feature set, a complex user interface and is priced with mid level DSLR's at the upper end of the ILC range.  It would be possible for snapshooters to manage the EM5 with the Mode dial set to iAuto.  But the expert/enthusiast camera user will make better use of the many features and user interface options available. Such a user will expect very good image quality and performance from the EM5 and in large measure it delivers. It also delivers a few challenges which have made my time with the camera a mixed experience.

Review priorities This review is written for the expert/enthusiast photographer who likes to take control of the photographic process and who uses a camera frequently.  I have not reviewed video operation or the touch screen function as I do not use either of these features. You can read about these and a list of the camera's specifications and features in great detail elsewhere. I have nothing to say about scene modes or art filters. 

Image Quality  IQ is excellent, easily the best of the M43 cameras at the time of this report. You can read all about it  in technical reviews.  Resolution, Dynamic Range and noise are all very good.  JPG and RAW files are both very good.  To quote dpreview's assessment.............."moving up to......... full frame is the only way of gaining a significant step up [in image quality] from the EM-5". DXO Mark recently scored the EM5 at 71 with a Dynamic Range of 12.3 which places it in the middle of the APS-C sensor group.

Performance

Autofocus Settings   I prefer and use Single Target, as described on Page 44 of the Instruction Manual, usually located in the frame center, but sometimes off center. I never use the "All Targets" or "Group Target" settings as these leave to the camera decisions about focus point which I would prefer to make myself. In most cases I use the default, green square, focus area, sometimes a smaller focus area.

Autofocus, single shot:  This is very fast and sensitive, latching onto the slightest hint of texture including brush strokes in paint. The downside  is a significant rate of slight misfocussing. The degree of misfocus might not be noticed with many photographs, but can become an issue with big enlargements or prints.  Sometimes the camera signals it cannot focus but more often it indicates focus has been achieved when that is not quite the case. Misfocussing appears more frequent in conditions of low light level and/or low subject brightness range, but also when there are many bright light sources in frame. It appears to me more frequent with Panasonic lenses than Olympus lenses, particularly the 7-14mm zoom. It is more frequent at the long end of the 12-50mm, 40-150mm and 75-300mm zooms and more frequent at long distance from the camera, possibly related to the lowered subject contrast inherent in that situation.  The actual rate of misfocus varies widely with circumstances. There have been days when all the frames were sharply in focus, but on other days with different lens/light conditions, as many as 50% of frames have been slightly unsharp with no evidence of camera shake (no doubling). 

Manual Focus, single shot: With focus assist enabled MF is readily achieved although the EVF's on both the GH2 and NX20 snap in and out of focus more clearly.

Autofocus, Continuous, Sequential drive, moving subject:  The EM5 with Olympus M 75-300mm lens will follow focus on a moving subject at 3.3 frames per second  with  IS operating, AF and live view on each frame even when the subject is a motor vehicle travelling at 60 kph. It has the best performance of any M43 camera to date with sport/action type subjects. It works best in bright sunlight with subjects moving at a steady speed. I discuss this in more detail in another post on this blog.

In normal single shot use the camera will refocus and shoot almost as fast as I can press the shutter button again after each shot even with RAW capture, an excellent performance. With image review off, monitor and EVF blackout is very brief to the point I don't notice it. Shutter lag is virtually nil.  In general the camera operates in a very brisk and responsive fashion. Note that if you activate copyright information [Custom Menu >H >Record/Erase >Copyright Settings >Copyright Info>On] the camera slows down markedly.

Image Stabiliser  The EM5 has the much advertised "Five Axis" In Body Image Stabiliser, which appears to work very well. I found it possible to get sharp pictures at very slow shutter speeds. There have been numerous questions in user forums online about the reliability of this system. The camera which I bought had no IBIS problems that I could detect. I suspect that some user's experience of image doubling may have been due to shutter shock rather than IBIS problems. Please see my aticles on shutter shock elsewhere on this blog.

Flash  I have only used the supplied, detachable unit and then only to a limited extent. I have read elsewhere that the EM5 has sophisticated off camera flash capabilities but I have not tested this aspect of performance.

Ergonomics  This discourse follows my usual approach, looking at each of the four phases of use in turn then investigating viewing, holding and operating in Capture Phase.

Setup Phase  The main task of this phase is making selections in the Menu. Many modern cameras have a complex menu system which can be hard to follow, even with the instruction manual to hand.  The Panasonic GH2 which I tested alongside the EM5 is no paragon of menu clarity.  But the EM5 menu system takes complexity to the next level which many people myself included find difficult to negotiate. Experienced Olympophiles on user forums scoff at people like me,  insisting the menus are perfectly simple and easy to negotiate.

Button Function   The EM5 allows extensive user configuration of button function. It even allows some buttons to be assigned single function or multifunction. This allows the expert  user to customise camera operation to personal preference, but, compared with most other cameras,  does require more choices to be made at the setup phase.

Dial Function     I am a great advocate of user selectable interface module function in electronic cameras but the EM5 takes the concept to extremes.  For instance in Custom Menu >B >Button/Dial >Dial Function, you can assign a different function to the dials in each of the P, A, S, M, Menu and Review modes, plus you can choose the dial direction in the same menu. Perhaps I lack the requisite imagination or aptitude for cognitive challenges but I simply don't understand why one would want the dials to change function on switching from one shooting mode to another.

Picture Mode Settings A long list of these appears in Camera 1 Menu >Picture Mode, but there is another not quite identical list in Custom Menu D >Disp/Sound/PC >Picture Mode Settings. Presumably there is a reason for this but I never figured it out.

Mysets  Many electronic cameras have positions on the Main Mode Dial usually labelled C1, C2.....etc. This allows groups of settings to be stored and recalled as required to streamline preparation for different photographic tasks.      There is room on the EM5 Mode dial for some presets but Olympus does things differently.  Mysets can only be accessed via the main menu which requires 9-12 button presses depending on which Myset you want. The active myset is not indicated anywhere at all. When the camera is switched on it will return to the settings in place at switch off  but does not inform you which set is active. There is also an option for a "quick myset" which can be allocated to a button but you must hold the button down while pressing the shutter for this to function. While the allocated button is being pressed there is a myset indicator in the lower left corner of the monitor. This is another example of a useful function which other camera makers provide in a reasonably straightforward fashion but which Olympus delivers in a manner which I find more opaque. Once registered and set, the Mysets work just fine.

Flash settings  There are five  places you can make settings for flash operation, two in the main menu, Camera Menu 2 >flash +/- and Custom Menu >F >Flash, two in the Super Control Panel and one on a scroll wheel if you have preset a  wheel to change flash output level. Some of these duplicate each other, some do not. Some of the help guides are difficult to understand.  Again we see complex arrangements when more direct ones would have served better. The other problem for flash use on this camera is that it lacks one built in.  You have to remove the hotshoe cover then a little plastic cover from the connection port, then take the (supplied) flash out of it's pouch and remove the  plastic protective cover, then put the three little bits of plastic in the pouch so they don't get lost, then push the flash unit into the hotshoe and connection port together, lift the flash head up and you are ready to go. Fortunately the camera has good  high ISO image quality so the flash is not often required in general photography.

IS Operation  There are several different places where settings affecting IS operation can be made.   In the Super Control Panel or Camera Menu 2, IS can be set to Off, 1, 2 or 3.

In Custom Menu C > Release/Drive, there are two settings: Halfway Rls with IS,  [which I suspect most users will set to On and wonder why the choice was provided]  and Sequential+IS Off  [which you have to set to Off  in order to make the IS On  with sequential drive] Go figure.

Then In Custom Menu D >Disp/sound/PC >LV closeup Mode, you can set Mode 1 or Mode 2, which I read on user forums has an influence on IS operation but I have to confess I never figured out how this relationship works.

Prepare Phase

Some cameras such as the GH2 have several set and see dials and levers on the top plate together with several maker and user configured buttons, for direct user control of Prepare Phase adjustments. But the EM5 has only one set and see dial (the Mode dial). If  the 4 way controller buttons are allocated to changing AF area position then Prepare Phase adjustments will involve a trip to the Super Control Panel.

Super Control Panel   This is generally well implemented with a few caveats. There are five different sub panel sizes the logic of which escapes me. It's not a big problem but scrolling around the screen is not as quick as it could be if each element was the same size.  The panel is approximately divided into a selection of Prepare Phase items on the left side and a few Setup items on the right side. Overall the appearance is somewhat that of a work in progress, with some items which should be on the SCP missing and others included unnecessarily, cluttering the panel.  One solution  would be to allow the operator  to move  user selected items from the main menu across to the SCP. That way each owner could have their own preferred items and no others on the SCP.   The Fn screen on the Samsung NX20 is  better implemented,  the Q Menu on the GH2 is  worse, with it's non user selectable items arranged around the periphery of the frame.

Auto Exposure Bracketing  Some cameras have a drive mode dial, lever or button on which you can select AEB, having previously set up the number, EV step and sequence in a main menu. Easy. But the Olympus is different. There is no drive mode dial, lever or button. No problem you might think, just put AEB  on the Super Control Panel. But it's not there. You have to go into Camera Menu 2 >Bracketing >Select an option. This takes 10-21 button presses depending on which option you want.  You have to repeat the whole sequence to turn AEB off. Alternatively you can include AEB in a Myset.  But you still have to go to the main menu to activate the myset.

Capture Phase

Olympus OM2 front

Capture Phase, Holding   As part of my voyage of exploration into camera ergonomics, I have made several wooden mockup cameras. This has given me some insight into the process of design. Early in that process come basic decisions about dimensions, layout, control systems and style. These early decisions limit the range of options available at later stages of the detail design process. I am just an ordinary consumer with no knowlege of the people who design  cameras or their decision making activities. However one can make some inference about these things from the product itself and the maker's promotional material. Olympus makes much of the EM5's homage to their 1980's OM series film SLR's. One Olympus spokesman referred to the EM5 as  having "the beautiful shape".   I don't care to comment on whether the shape is beautiful or not but it has a substantial effect on the ergonomic capabilities of the device.  

Olympus OM2 rear

OM series film cameras established the leitmotif  for the OM digital cameras, however there are substantial  differences in their shape and form with ergonomic consequences.  The OM series film cameras (and many similar designs such as the Pentax ME series which I used for many years) were easy to hold and operate with the "no handle" design because they were, compared to the EM5, wider, deeper and devoid of any screen or interface modules on the rear. You could get ahold of them.

No handle mockup
This is how the right hand holds a classic film camera like the OM2. The hand and fingers adopt a natural configuration which is comfortable. The thumb is ready to operate the film advance lever. The index finger is on the shutter release button.

This is not the case with the EM5 which in standard configuration provides the user with a tenuous hold on the camera, particularly if a telephoto lens is mounted.  It feels much less secure than the GH2 or  NX20. 

EM5 held like a no handle camera.
You cannot hold the EM5 as you would the OM2. The right thumb is across the monitor, the index finger is not over the shutter release button. The EM5 is not a 1980's film SLR but a 21st century ILC with a completely different set of inner workings and external controls. There is no functional or ergonomic reason for it to be shaped  like this. There may, or may not,  be marketing reasons but that is another story.

EM5 No handle hold
The EM5 without accessory handle is held this way. This works but requires a more cramped position of the fingers. The camera is not easy to hold and carry with a telephoto lens mounted.

EM5 with HLD-6 projecting type accessory handle
This opens up the fingers providing a more comfortable and secure hold on the camera. But the thumb must still be located on the far right side of the body. This holding position is not bad but could be improved if the body to the right of the monitor were wider.

Small ILC mockup
This wooden mockup is about the same width as the EM5 but is lower and has a different design with smaller monitor. The EVF is located on the left side, rangefinder style and  there is a built in parallel type handle. This photo is included to show that a camera which is actually smaller than the EM5 but of different design can provide a greatly improved holding and operating experience. You can see the right hand takes on a natural, comfortable and secure position. The buttons and dials are larger and positioned in harmony with the functional anatomy of the fingers and hand. This mockup was not designed to look like any other camera from any era, but to provide the best possible ergonomic experience for a small ILC, without preconceived ideas about appearance or style.

An  accessory handle provides a more secure grip.  The first part of the Olympus HLD-6 is suitable. There are also several independent makers of accessory handles for the EM5. This arrangement may be a marketing triumph but is an ergonomic kludge.  With the grip attached there are two shutter buttons and three scroll wheels on the top plate, cluttering up high priority camera real estate with redundant user interface modules (UIM).  Worse, for my average sized adult hands none of the scroll wheels is optimally positioned or angled. My index finger keeps wanting to find a front scroll wheel between the two which are actually there and the same finger wants the axis of rotation of  that scroll wheel to be tilted 80 degrees so it matches the natural movement of the finger. The HLD-6  grip costs  an extra $300 over the initial price and you have to remove it to change a battery. Oh, yes, and try not to lose the little plastic contact cluster cover piece from the grip, and the little black rubber cover thingy from the contact cluster on the camera base. While I am complaining I note the accessory grip has a sharp corner which digs into the palm of my right hand. 

If Olympus had simply incorporated a properly designed handle in the first place,  the EM5 could have delivered a more effective ergonomic layout at lower cost.

Capture Phase, Viewing   The monitor is very nice, with plenty of user selectable options for content and characteristics of the  display. One of the most useful of these options is the orange/blue indication of highlight/shadow clipping, available on preview and review in both the monitor and EVF.  The level which activates the clipping indicator is also adjustable, a very sophisticated feature.   The monitor is of the swing up/down type which is good for waist level or over the head shooting in landscape (horizontal) format. Some people prefer the swing-out-and-swivel type, which is more versatile in some ways, not least the ability to turn it face in to the camera body.  I guess you can't have both.  Likewise the EVF is excellent, providing a natural looking view of the subject in all conditions and plenty of options for the display. I have just two ergonomic grumbles about the viewing experience. I like to set up the monitor and EVF to look the same so when I switch from one to the other the cognitive experience is continuous. This is possible on the EM5 but only using "Monitor" style with camera data overlaid on the image area. The EVF will, but the monitor will not allow the "DSLR style" with camera data in a strip beneath the image. The other grumble is about the eyepiece shape. This is short and wide which is comfortable in landscape orientation but in portrait orientation the ends of the eyepiece dig uncomfortably into the the upper and lower margins of the eye socket.

Capture Phase, Operating    This camera's operation is highly dependent on user configured setup which determines the function of most of the UIM's.  This level of user selectable UIM function is very welcome however the option to select functions is also an imperative which requires a longer familiarisation period than many less sophisticated cameras.  In general the camera operates quickly and efficiently in Capture Phase with some exceptions described below.

Autofocus Start  Several pro style cameras have a dedicated AF start/lock button on the upper rear of the body. There is no room for such a button but  the EM5 enables AF start to be activated by half press on the shutter button and thereby separated from AE and Capture which take place at full press. This works well and represents an  efficient  use of the shutter button.

Changing AF area position and size:    There is a set of features described on Page 45 of the Instruction Manual under the heading "Zoom Frame AF/Zoom AF".    This set of features, I have to confess, continues to baffle me completely despite reading the instructions many times, playing with the camera for many hours and trawling through the numerous posts and responses (literally hundreds of them, I am not the only one  having trouble with this) about it on multiple user forums and independent blogs. Some contributors to those user forums say they  have figured out how to make sense of this set of  focus functions. Maybe those  people are able to adapt more readily to the Olympus way of doing things.

Auto ISO  Is well implemented. The camera will increase ISO up to the preset maximum to ensure the shutter speed does not fall into camera shake territory.

Buttons  The Play and Fn1 buttons are very recessed, making them awkward to activate in any Phase of use and almost impossible in Capture Phase with one's eye to the EVF.   However if you are going to operate the rear scroll wheel with the thumb, which appears to be the designer's intention, then those buttons must be recessed or they will be pressed inadvertently.     The buttons generally are small because the body panels which accommodate them are also small. Panasonic M43 cameras have the same problem. One could be philosophical about this and say small buttons come with the territory of ILC's but I know this is not true because I have designed and built mockups which are even smaller than the EM5 yet have larger body panels with  larger buttons, better positioned for ease of operation. The size issue is in play but design decisions are the main determinants of the effectiveness of the user interface.

Review Phase  The EM5 has one of the best image review systems I have encountered.  One scroll wheel magnifies the review image centered on the AF area used to make that image. The other scroll wheel can advance to the next image at the same level of magnification. Very neat, very convenient, well implemented.

Conclusion   This camera's oficial name, Olympus OM-D- EM-5 sets the theme for the whole package: a convoluted  course to it's realisation when a more straightforward  pathway could have been provided.  This is no "safe",  middle of the  road product.  It's best features are very appealing but some aspects of the user interface can be either challenging or baffling depending on your aptitude for puzzles.  I suspect this camera will polarise users with some enjoying it's impressive capabilities while others become frustrated by it's sometimes obtuse user interface.  You pays your money and makes your choice. Good luck.