The Olympus OM-D E-M5 Mark III: The everyday space traveller!!!

Why am I no more very attracted by the newest camera model? Is it fatigue of being bullied by novelties that cannot ever satisfied the photo gear Web reviewers of this planet? I cannot say but as a photographer, I can only state that the search of technical specification performance has seem to overshadow the pleasure to adopt a tool for producing an interesting imagery to share.

This is a big introduction to justify my new camera model adoption, the Olympus OM-D E-M5 Mark III. What can I say more that I am late in the show of these fantastic and famous photo gear reviewers of this photo sphere? Perfect for me, I don’t want to compete with their marvelous knowledge on equipment performances. As a secret between us, many of them don’t understand that, at the end, they are only a perfect marketing tool to be manipulate (Shut up! Don’t tell them!).

Olympus has really enhanced the Micro Four Third format (MFT) with the introduction of the original OM-D E-M5 for the (still) photographer as Panasonic have done with their GH series for the MFT videographers. It was not so far ago (9 years) but it is easy to forget the impact of the first Olympus OM-D E-M5.

Most MFT still photographers will certainly agree with one of the biggest advantages of this format system is its compactness and the Olympus OM-D E-M5 different versions are in complete accordance with this fundamental characteristic. The OM-D E-M5 Mark III is small, but not too, and is light at a point that some photographic gear reviewers were a bit deceive by the "plastic" feeling they proclaim to had when holding the camera model, the first time but honestly, I didn't have this impression. Holding the OM-D E-M5 Mark III a day long prove to be a lot more friendly experience for the less physical strength it is asking compare to the bigger image sensor format camera models. Couple with a standard zoom lens, the combination camera body and optic is becoming a pleasure to work with in many contexts and for various subjects.

At last, a real and practical viewfinder for the (eye glassed) photographers!

It always has been a rarity to find a camera model that will suit the need for photographers who are wearing eyeglasses, to be able to see the entire image frame through its viewfinder. Many camera models have an eye relief (the distance between the looking eye and the viewfinder ocular front glass) which is already limit for the naked eye for a complete "corner to corner" appreciation of the picture. The Olympus OM-D E-M5 Mark III have solved the problem by extending its viewfinder eye relief up to 27mm (compare, for two examples, to 20mm for the Olympus Pen-F and to 21mm for the OM-D E-M1 Mark III). In doing so, the OM-D E-M5 Mark III offer an almost exclusive advantage to photographers who are privileging the extended use of the viewfinder during their photo taking session.

An "all-around" photo device

The Olympus OM-D E-M5 Mark III is often presented as a travel camera model in regard of its weather resistant qualities (especially if you combine it with an appropriate weather resistant lens). That can be a bit reducing about the ability of the OM-D E-M5 III to withstand in various adverse conditions that can be encounter even in your own backyard! Because of this useful characteristic, there is almost no limitation to bring with you the OM-D E-M5 III into different photographic contexts. Cold, rain, humid atmosphere or sandy wind won't prevent yourself to take original pictures providing you take a special care of the after-session camera cleaning.

Handling is a too personal sensation...

Speaking about the handling comfort of a camera model is a very tricky business. It depends on a lot of our specific morphologic attributes and our own perception to how we like to interact with a photo device. In one word, if you feel comfortable to handhold the Olympus OM-D E-M5 Mark III and if the control dials and function buttons are stimulating their use, you can say that is a good design that fit your personal approach of this photographic tool. It depends also which lens combination you attend to couple with the camera body. In any event, Olympus/OM Digital Solutions have proposed an optional hand grip (with shutter release button and front control dial), the ECG-5, that could satisfy action photographers that are intending to use bigger size and heavier lenses with the OM-D E-M5 III.

Interface for all

This modest personal short review won't try to substitute the operating manual of the Olympus OM-D E-M5 Mark III. What we can state as a general rule for most of the modern digital camera models with interchangeable lens (ILS) is that the possibilities of different functional configurations are surpassing almost every aspects of the photographer specific demands. And the big challenge is in fact to learn how to use the multiple camera settings. My only suggestion is to invest your spear time to experiment and get use of the OM-D E-M5 III because that is always paying off at the critical moment of a photo shooting session or event. And be sure to stay with the optimal image quality available in regard of the circumstances (which will definitively pay in return if you intend to post-edit more extendedly your pictures after).

Some have said that the Olympus OM-D E-M5 Mark III have a more simplified interface than other OM-D or Pen models and it is true (like having only one custom mode (OM-D E-M5 III) compare to four (!) custom modes for the Pen-F for example). My question, do we really need four custom modes that we will have difficulties to remember the content? But others may argue that they prefer to get a more direct control from dials and function buttons instead of a quick menu option. Yes, interfaces have to be easy to apprehend and operate and some are better than others therefore we can rate the OM-D E-M5 III on an average level compare to other camera models more intuitive.

An adequate 20MP image sensor

The Olympus OM-D E-M5 Mark III is equipped with the same 20MP image sensor that you will find into the flagship OM-D models such as the E-M1 Mark II and III as for the E-M1X and Pen-F. So, the picture performance is reaching the same level of quality if you are using similar exposure parameters and same optics. At the basic ISO sensibility setting (ISO 200), the results are stellar and will remain as very good or outmost acceptable up to the higher scale with, I would say, a personal limit of 3200. There is no real fear to recommend the OM-D E-M5 III for critical artistic works or for pro assignments.

Today bad image outputs are resulting from a misuse of the photo device by itself and except for very specific high-resolution works that are requiring true medium image sensor format (anything larger than the 35mm sensor size), the Micro Four Third format can fill the task nicely. Don’t be misled by the various and furious Web image sensor format promotors.

The different image modes that can be configure and enhanced through the various OM-D E-M5 III functionalities allow you a universe of picture variations despite that most Olympus users usually concentrate only to a few of them that suit their iconographic choices.

Technical performances are there

If you are asking you how the Olympus OM-D E-M5 Mark III can respond in term of technical performances, you can be reassured that autofocus abilities both in still and continuous modes, the exposure metering system, the different camera in-body mechanism such as the shutter or, equally important, the stabilization system (In-Body-Image-Stabilization/IBIS), etc. are all very accurate and reliable.

The OM-D E-M5 III is performing at a pro level if you are asking for, although the camera model is not primarily designed for a very intense use into very adverse conditions, tasks reserved for their flagship models OM-D E-M1 series.

Personal and practical thoughts about the OM-D E-M5 III

We are different persons with different perceptions, different ways of doing things and different tasks to fulfill. So, it is inevitable that opinions differ, and sometimes in a broader view, regarding the same photo gear. In fact, the more generic a product is, the less it has a certain persona, the more it tends to be simply ignored. And that happens often particularly regarding photo equipment.

The Olympus OM-D E-M5 series is one of the major factors that has contributed to my adhesion of the MFT system alongside with the compactness of their camera models and lenses. I loved to work with the OM-D E-M5 Mark II for a long period and even more recently. At the introduction of the OM-D E-M5 Mark III in 2019-2020, I had reserves concerning some design choices seen on this newest model. No more traditional flash PC sync port, no add-on vertical battery power pack grip (attached to the optional front handgrip), more apprehended plastic feeling although polycarbonate pieces have a better resistance to deformation, less function buttons, etc. The introducing selling price level was another deterrent especially compare with the OM-D E-M1 mark II reduced selling prices lately.

But the OM-D E-M5 III still have its own advantage with a more compact and lighter camera body with the weather resistant feature. Adverse climatic issues are part of my everyday life environment with cold temperature, sometimes high humidity, wind, rain and snow. Knowing that your camera-lens combo can withstand all these is a welcome relief. The long eye relief (27mm) of the electronic viewfinder (EVF) is another nonnegligible asset to the OM-D E-M5 III. Since I use primarily the EVF (almost all the time), a comfortable and easer complete view of the picture frame is always much appreciated. The price to pay is a reduced viewing magnification which can be partially compensated by the use of the loupe option in case of a manual focusing task.

I have selected both silver and black versions of the OM-D E-M5 III. Black got usually my preference over the silver presentation but I cannot resist to add the silver version into my old LowePro Passport photo bag. I was questioning myself about the optional Olympus EGC-5 hand grip, but after a good trial of it that the EGC-5 is a good designed grip, more confortable than the previous HLD-8 combined with the E-M5 II (the EGC-5 is less angular and more secure). We can only regret the abandon of the ancient vertical power grip companion which was very useful for its added battery power pack option and its vertical shutter release button. The optional hand grip should be very useful when a heaver and longer in size lens is combined with the camera body (I can't help myself to be a bit disappointed by the abandon of the vertical grip with shutter release because there are many photo taking contexts (Portrait, action, birding, etc.) where it is so practical in offering a good comfort for long period of time of vertical framing).

My long-time struggle with any auto-focus system have started right with the introduction of the Nikon F4 and has continued since the introduction at large of this demoniac feature. Even in action photography, I use to be a pre-focus photographic person who doesn't have a strong confidence about any autofocus system pretention. Again, the OM-D E-M5 III make no exception in my (highly) subjective book. Is a camera can being so intelligent to be able to anticipate my creative mood? I hope not because it will deny the utility of my implication in this world. Suffice to say that the Olympus OM-D E-M5 Mark III have plenty of autofocusing options to confuse yourself for more than a decade! The bravest of our photo community will certainly experiment them ad nauseam!

In single mode (S-AF) the auto-focus system is efficient and fairly fast for doing pre-focusing on the subject. In continuous auto-focus mode with tracking (C-AF TR), The interface is easy to set on the main subject to follow and surpriselly reliable. These two auto-focusing settings are the ones that I am using the more often in static (S-AF M) and action (C-AF TR) contexts.

The advancement of the exposure metering systems and the great exposure latitude of the digital image sensors have been extraordinary during the last decades. For a more spontaneous photographer like myself who is also an adept of pre-set camera configurations, it is a very welcome technical revolution. It allows you to concenter to basic important parameters such as sensibility (ISO), lens aperture (Deep of Field), shutter speed and overall exposure compensation. There is no doubt that the OM-D E-M5 III is a very serious and competent tool in that essential photographic matter.

The Olympus OM-D E-M5 Mark III is a fairly recent product, one of the last designed and produced under the previous Olympus administration before the taking over by OM Digital Solutions who seems to take their full time to analyze and determine what kind of future the Olympus/OM line of products will be. So, we don’t really know if changes will occur and to what extent. But we suspect with all the already mature Olympus products of the present time that no big departure from the recent past of the MFT system should be introduced. The rest is pure speculation that many reviewers often confound with their own opinions.

How many pictures we use to do in, let say, one year? Suppose a daily rhythm of 50 pics that is translated in a year total of 20K on the camera shutter release counter. Now supposing also that a camera model is designed for a minimum lifespan of 100K, you may anticipate a total use of 5 years minimum and considering this is a minimum, you can probably extend those figures for, at least, a few years. And the technological advancements will probably overpass the simple durability of the camera model.

Is the Olympus OM-D E-M5 Mark III a creative photographic tool*? Surely, considering its practical design, its good performance and durability and its compactness. Some design choices have been nice enhancements (re: 20MP sensor, autofocus performances, EVF) from the previous model (E-M5 II), others can be more disputable (re: no vertical grip) but as a "go every day" camera, the OM-D E-M5 III is an excellent compact companion**.
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* As usual, I hadn't evaluate the video capabilities of the OM-D E-M5 III.

** I am rating this OM-D E-M5 Mark III higher than its predecessor version (Mark II) considering its obvious heritage from the OM-D E-M1 II flagship model with two reserve observations: the abandon of the vertical power grip HLD-6P (seen on the previous E-M5 and E-M5 II) and the impossibility to preserve (upload and download) the owner interface configurations though the Olympus Workspace software as it was in the past for the previous E-M5 II and Pen-F.

The "Stair chase", a step Case!

 

Bulb-Bees

Alien-Bulb-Bee

Twin Bulb-Bees

Girafe Bulb-Bee

Beige-O-Thon

 

Beige is the color that some will call insipid, tasteless, washy, savorless, etc. But seing as a monochrome rendering, I have found beige interesting especially without the distraction of other colors. 

Le bourbier sanitaire qui perdure et qui change tout en photographie!

Avril 2021 et, vous savez quoi, bien des choses ont changé malgré tout. Certes l'activité économique mondiale, elle, a repris ses droits et privilèges parfois au détriment de toute logique sociétaire mais elle était devenue le point de mire d'une société de consommation impénitente qui ne peut se sevrer de son appétit matériel sans cesse en croissance.

Par contre ou le bât blesse plus particulièrement chez notre "civilisation moderne" reste toute la question de la mobilité physique de l'humanité. La grande vague de démocratisation du pouvoir de déplacement pour tous et chacun semble bien terminée pour être remplacée par un régime de restrictions qui condamne le citoyen a pratiquement demeurer chez soi et dans son environnement immédiat et encore avec de sérieuses limitations. La socialisation a pris une tournure essentiellement virtuelle pour ceux et celles qui peuvent se le permettre.

Tout cela n'est pas vraiment de bons augures pour les adeptes de la photographie qui tentent d'ouvrir leurs horizons vers de nouveaux sujets et de nouveaux contextes de prises de vues. Bien que je ne sois pas peu s'en faut, ce qu'on pourrait appeler un « socialite » photographe, un "social street photographer", il me pèse de constater l'absence presque totale de la présence humaine et de son interaction dans l'environnement. Et aussi le déclin de toute réactivité proprement humaine puisque, souvent, la méfiance a remplacé la curiosité et l'ouverture.

En fait cette pandémie qui s'éternise et s'installe à demeure dans nos vies, a accentué une tendance déjà existante d'une société dont la dépersonnalisation menace toutes nos communautés de vie. Elle restreint l'humanité à la recherche exclusive des besoins réels ou inventés de la consommation. Au-delà de ce spectre étroit, plus rien ne semble aussi prioritaire dans notre univers relationnel. Comme si toutes les grandes fêtes humaines avaient été annulées sous l'impératif de la survie individuelle et la recherche du risque zéro ce qui est en soi une sorte d'absurdité pour les mortels que nous sommes.

Le grand problème de tout cela c'est que la créativité et l'expression artistique ne se nourrissent pas seulement d'introspection et de méditation individuelle. Elles trouvent leur inspiration également de la découverte et de l'échange d'idées d'autres provenances externes à notre cercle habituel de vie. La pandémie actuelle a mis au ban l'esprit voyageur de l'humanité, parlez-en aux photographes du monde entier!

Se sortir de ce bourbier sera certainement un grand défi humanitaire et pour les photographes, le défi sera d'autant plus grand qu'il faudrait rebâtir les ponts de la communication et de l'échange entre tous. Mais ce challenge en soi pourra être une grande source de motivation pour refaire et réinventer tous ces témoignages futurs iconographiques. Il s'agit seulement de continuer à aiguiser nos réflexes d'observateur curieux et de technicien aguerri!

Tears-Drops!

 

Tears of joy, tears of pain, tears of love, tears of frustration, tears are everywhere in every circumstances because they are part of a universal process of life even in the material world.

Un-paralleled Mornings

Every morning can be a different new life story that are full of paralleled none-paralleled subjects to be recorded for our small prosperity and it suffice to click them with an always renewed eye!

Oriented lines of interest in photography

There are so many subjects and their variations in photography that is, in some way, provoking more confusion or disorientation than a more expected attention. It is hard to be completely closed to the appeal of the incessant image novelties. How can we easily protect ourselves from be overwhelmed by the rich diversity of the life surrounding us? It is almost an impossible mission. But the fact is that too many details will eventually blind the core message of a visual intended expression, artistic or for documentary purpose.

You cannot simply subtract the importance of the techniques of photo taking from our first goal of delivering an impression, an interpretation of a recorded subject moment. Everything is participating into the creative process of a picture. Spontaneity may intervene only at the vest last instant of triggering the shutter release of the camera. A photo project is not a complete improvised creative impulsion. It is the combination of conscient-unconscient process that provoke the action of recording a picture.

With time I have learned the importance to be oriented with more specific subjects and photographic techniques. For sure, it does not prevent us to pursuit other pictorial experiments and further explore different subjects but to be more focused help to get results that are reflecting our anticipation. One particular good picture may be the result of a lucky opportunity but a good, documented photo project that is showing diversity and originality require more dedication and persistence.

Here are some personal examples of recurring photo projects that I still privilege over the years:

The subject of twins (not identical!) *:

Chains of humanity **:

Religious artefacts ***:

Provoking photography ****:

The search for photographic subjects and their different interpretations is a never-ending creative quest. It involves our deep human curiosity to understand the deep nature of our surrounding world. We will continue to evolute not only because we are questioning ourselves about the purpose of our own life, but more important, because we are always tempting to apprehend the nature of this universe which we are a very tiny participating part.

                                                                    

NOTES ON PROJECTS

* The subject of twins is not new. You may refer to the Diane Arbus photo study for example. Often interpreted on an exclusive human perspective, twins are present in every ways into our surrounding universe and are often not so identical in fact!

** Chains of humanity are the behavior signs that may characterize the most our sociality. These chains or bond between people have a deep symbolic value especially during our present time.

*** Religious symbolism has been part of the human history. From a young age, I have been first submerged into the religious social pressure to later be completely abandoned to a merely agnostic society and then replaced today by a melting of extreme positions. It is hard to believe that all this happens in this very short piece of time. The architectural artifacts of the recent past (100 years) are interpellating us about the significance of our human path. But they are now the material testimony of different beliefs that can be questioned themselves but that are still present in our day-today life.
Here in our French-Canadian culture, roman catholic religion was the backbone of a post-rural society that persisted until the 1960-1970 years. After, it vanished almost instantly in profit of a self-egocentric material world. Although we cannot propose to go back in a very restrictive and authoritarian surrounding that have denied the right to be different, there is always a kind of nostalgia based on a fragmented and biased perception of this recent past period.

**** Provocative unprovoked Photography: There is this big controversy about "framed" picture subject that many photographers are producing without stating if they are more staged than spontaneous. We have scandals around the photo illustration world like those from the prestigious and highly notorious National Geographic Society magazine. Is "Retouching" a subject although on the spot or in post-processing represent "the" reality or even an interpretation of it?

If you were an anthropologist, you may know already that the only presence of a new looker in any situation will have a direct influence on it that can be tiny or very large depending on your own measurement scale. With photographer it is further worse, and it is by far not a new phenomenon. So, by stating that trivial fact, do we have the excuse of the other excess meaning completely recast a photographic scene to our own taste? Because you are speaking here of integrity (not far from honesty). In brief, can we allow us to "touch" the subject and alter its aspect and spatial relation?

Pictures are speaking by themselves, but they are also speaking about the ones who have taken them. Many of us can recognized easily staged or simulated photographic situations over the more authentic ones. True that we can make some mistaken judgements but on the average the bids are good enough. And over that pictures that have a sense of authenticity have a further impact than the ones that seem to be a fabrication from their author. To draw the attention of a picture looker, you will ask to get an initial impact but to prolong it, you will need photographic substance mainly a story along the initial subject.

An Olympus/OM "Pro" Hierarchy in Micro Four Third Format

This is a question that some people may ask about the categorization between the different Olympus/OM products into the Micro Four Third format (MFT) mainly because we can easily assimilate this particular line of products as very extend and very diversified. Olympus has a very fine reputation for designing and manufacture high level devices as for more amateur oriented ones.

If you ask to professional photographers, i.e., people that are using their photographic gear intensely and into adverse contextual conditions, you may find that the choice will became more obvious than it seems at first sight simply because most photo gear manufacturers will trace a specific value limit which is reflecting in their selling price scale. Many of these "Pro" so-called equipment are produced in a smaller number with higher manufacturing standards, but for the imaging performances, it can be frustrating to discover that these "Pro" devices are not necessarily surpassing the cheaper and more accessible ones.

If you are looking into the Olympus/OM MFT series, I will qualify very arbitrary the OM-D E-M1X (the "beast") as the only one that is purely a full time professional one. You can consider that the OM-D E-M1 mark II and mark III model versions as excellent semi-professional cameras too. But the OM-D E-M1X is definitively the workhorse of the OM system.

How about the M.Zuiko lens series? Surely nobody will contest the basic Pro zoom lens trio consisting of the M.Zuiko 7-14mm F2.8, the 12-40mm F2.8 and the 40-150mm F2.8 Pro models that are for most photojournalists a fairly competent choice. The M.Zuiko 300mm F4 Pro as "long reach" telephoto can be added for its specialized ability. The other fine Pro trio is certainly the M.Zuiko 45mm F1.2, the 25mm F1.2 and the 17mm F1.2 for their specific image selectivity (shallower deep of field) that will be appreciated in portrait or fashion photography. All these optics are specially designed to withstand the "Pro" criteria of intense photographic tasks (Auto/Manual Clutch focusing system, large maximum aperture, weather resistant, etc.)

Any photographic devices can do fine work on a certain extend. So, the gear choices are purely a personal matter of tastes and needs that I will never argue as for the adoption of a specific manufacturer or even a digital imaging format. But every serious photo equipment manufacturer will offer you a dedicated professional product although they often like to leave a certain blur regarding the real frontier between their amateur and pro series for marketing purposes.

When Olympus introduced the OM-D EM-5 (first version) in 2012, many early adopters have understood the potential for using a MFT camera as a true professional tool (the same reasoning has been observed with the introduction of the Panasonic Lumix GH series for digital videography). Then the Tokyo manufacturer have launched a "pro" oriented model, the OM-D E-M1 (first version) just about one year after, alongside with a new "Pro" lens series confirming their obvious intention to invest into a real pro line of products.

For the major photographic gear manufacturers, their professional flagship models represent a kind of locomotive that are attracting the potential demand to their different offer even the very amateur ones. It is basically a strong marketing asset for the company that cannot be ignored. It demonstrates the serious of their involvement not only to their customer bases but also to their own investors. And you don’t need to be a photographic educated person to fully understand the importance to maintain an higher level into your product line offer.

There is not a lot of photo equipment manufacturers that will be dedicated to a complete professional line of cameras and lenses. Among these few ones, Olympus/OM is certainly one of the most involved in term of diversity, qualities and performances for their products. They have chosen to stay into the Micro Four Third format and have created that way a clear departure from the other manufacturers like Nikon or Canon or Fujifilm that have adopted other digital sensor formats. Olympus/OM Pro lenses are without doubts very renowned optics too.

The so-call professional photographic gear is expensive, we know that for a fact since many decades. That will not change and may be, will be accentuated through time considering the manufacturing cost factors for producing in a smaller scale, very specialized photo devices. As a professional tool, these high selling prices may be easier to justify as for the strong passionate photographers. But for all the other enthusiasms, there is a lot of different products that will fulfill perfectly their needs and preferences.

Less better than more: a pandemic lesson!

I have never been particularly interested by crowded places or of big gatherings. It can be paradoxical for an urban fellow like me, but it may be because my mother had taught me in a very young age to be a self-sustained person more than a socialite one. For sure I am not the only one that secretly appreciate the more peaceful way to live that the pandemic crisis has provoked for almost a year now. But I won't argue the very human necessity to interact with our other relatives, friends and fellows.

Many have complained how much the new restrictions regarding mobility and social opportunities have depressed them deeply. I can understand partly them because it is never easy to adapt radically our behavior in a very short notice. For some like me, sincerely it was not that difficult. Simply put, it allows us to better concentrate our life on already more solitaire ways of doing things such as doing photography (my case).

Contextual photography doesn't necessarily need to be stereotyped by an obvious human presence. It can be as subtle as you can choose to visually interpret it. One small detail might do the difference between a powerful message or a complete soup of ignorance when too melted with other distracting details. We can call the process of "purgation". It is like presenting too many pictures instead of really pointing the only one that will impact the looker.

Our daily material surrounding is very rich and even, let's say, an empty wall can be revealed by the changing light and its own texture. The experience of observation is the one that will be questioning yourself first and before photographically register it. Every visual situation is a fest of diverse sensations that can be personally painted in our mind. This iconic interpretation is transposed on the bias of our photographic representation, i.e., on the taken picture and share.

We cannot emphasize more the importance of observing our always changing world, small and big universe of diversity in term of subjects and contexts. And the message we generate by doing photography is essentially an individual one opposes to an insipid majority and repetitive one because there is not only one universal comprehend of our world but multiple thinking variations.

What the actual pandemic situation, which is not new in the modest human history, should have learned to us at least is the vanity of abondance compare to the necessity of a certain spirituality of the things. The photographic wonders of this world are may be already beside you!

An Olympus(pic) Saga: Why, When and What to think of a beautiful but rocky story.

This is the story of my life, trying and trying again, be curious, be intense and be passionate for something, for someone, forever. It never finishes or if so, it will be the end of my own road. Many times as I think I have reached the bottom of it, there is always a rebirth of interest, of enthusiasm.

And so, we can resume the odd and tumultuous path that Olympus cameras evolution have followed during these past several decades and even today it seems that the pattern is staged again ... and again! Pen, OM, Camedia, E, OM-D, Pen-F, all those denominations are part of a long list of innovative but often forgotten product design through the analog film and digital photographic eras.

My love for Olympus cameras has started during my college years with the introduction of the OM-1 and OM-2 revolutionary models that a friend showed me. Those little 35mm film camera gems were fantastic reincarnations of the Leica G-M spirit into the SLR (Single Lens Reflex) world of that time (1974-1975). I was amazed not only of their inherent photographic capacity but also by their beautiful aesthetic. The stage was set for a loving affair that will last for a few decades only to be phase down by the autofocus cameras introduction.

Later on, Olympus reinvent themselves into the digital age with the Camedia and E series at a fast speed moment of technical challenges in term of photographic abilities to be conquered over the analog advanced camera models. Yes, that path was also very hazardous, and, except for the traditional two camera manufacturer majors (Canon and Nikon), it was very difficult to impose new digital standard over the photo equipment market.

When I first saw the Olympus OM-D E-M5, I cannot help myself to remember vividly of the cult Olympus OM-1 model presence of my student years. In my mind it was like a sentimental tsunami of the past-present times. And I could not help myself to buy one (E-M5) right from that moment of impulsion. What is particular about Olympus cameras is that they are inspiring photographic devices. You like to bring them with you, to play with them, to experiment the medium and to register without fear and intimidation your photographic subject. They (Olympus cameras) are part of a creative process of visual expression. It sounds lyrical but, in fact, it is!

Today, I am still using a OM-D E-M1 (Mark II) alongside with beautiful optics such as the M.Zuiko 12-40mm F2.8 Pro and the M.Zuiko 40-150mm F2.8 Pro lenses that are all competent and durable photo gear that deliver beautiful imagery. No camera is perfect, and no manufacturer is the best, but I have always found that Olympus is a kind of rebel into an industry more and more oriented by marketers of all kinds. And rebels are not really appreciated by conformists...

Long life Olympus, we are still there!

The imperfect camera user!

What will characterized the imperfect camera user?

A deficient eyesight (ex.: glasses wearers like me!)

A (Wrong) left eye dominant (The cameras are designed for right eye dominant people and  for small noses)

An incorrect hand and fingers size (The long or big fingers are not welcome)

A misuses of the camera functionalities (Why all those control dials and function buttons that confuse us?)

A lack of photographic general knowledge (Everybody can be a professional photographer)

A none "optimal" photographer height (Too short, too high, too late to succeed)

A (mis) use of the lens cap during the photo session (Decorative, easy to loose, obstructive)

No spare battery pack (What's the hell? The camera will shut off by itself!)

A wrong camera program setting selection for the subject intended (Am I a computer genius?)

And finally, a (complete) ignorance of the camera operating manuel content! (Why bother?)