With the E-M5, I feel that the Olympus micro 43 cameras have finally come of age. Here we have a camera with a large sensor in a compact, high-performance body that can meet almost any challenge. The improved high ISO noise performance, excellent IBIS for both stills and video as well as the brilliant EVF, superb build quality and continuous burst rate make it worthy of standing alongside most semi-professional APS-C DSLR models.

It’s quite an achievement for micro 43, which was once considered a ‘lesser’ format because of its sensor size. The m43 sensor is about 1/4 the area of a full frame sensor (which is in a different league entirely), but it is close to the standard APS-C sized sensors used in cameras like the Nikon D7000. With the removal of the traditional mirror and optical viewfinder, m43 cameras can be made much smaller and lighter than their DSLR siblings. Because of the smaller sensor, lenses too can be made smaller, granting the photographer exemplary image quality in a portable package unrivalled by even the smallest of DSLRs. That’s the promise of the mirrorless format, and what I see to be the future of digital cameras. But enough with the background – let’s get to the field test!

Above: The Olympus OM-D E-M5 Micro 4/3 Camera, Silver Version. *Frog not included.

PEN Origins and Sensor Improvements

I’ve been invested in the micro 43 format since the launch of the first Olympus m43 camera in summer 2009 – the humble E-P1. Since then, I had my original E-P1 stolen and replaced it with the E-PL2 while waiting for the true PEN successor to arrive. It finally did in the form of the E-P3, giving me exceptionally good AF speeds and great image quality in a body I felt happy to carry around with me at all times. So what was left that Olympus could use to tease me into upgrading?

The OM-D E-M5 represents a new line of Olympus m43 cameras. Distinct from their PEN siblings, the OM-D cameras pay tribute to the original 35mm film model in 1972, the OM-1. I say ‘cameras’, but there is currently only one OM-D camera available. However, we have good reason to believe that more will be on their way in the future. So what was it about the E-M5 that attracted me, even perhaps in spite of its DSLR-like appearance? In a word, it was the new sensor.

Not even a year has past since I purchased the Olympus PEN E-P3 and wrote up my detailed field report. It was the perfect camera for me in most respects, matching my current ability and needs in photography, with perhaps one exception. The sensor in the E-P3 was still merely a tweaked version of the one used in my original E-P1. While it had exceptionally good image quality, when compared to its micro 43 peers and APS-C DSLR siblings, it lagged behind when shooting at higher ISOs. (Incidentally, all photos in this article are E-M5 Jpegs that have been tweaked in Lightroom 4. At the time of writing the E-M5 Raws are not yet supported).

As many of you know, a great deal of my photography takes place in darkened places as part of my growing interest in the practice of urban exploration. Most of my haikyo expeditions require a compact kit that enables me to move around freely in often dangerous environments. It also needs to be lightweight due to the long journeys necessary to reach remote locations and offer good image quality even in low light. At 425g with battery, the E-M5 is suitably light (but with a pleasant heft) and only a little taller than the diminutive E-P3. It can look a little large in pictures online, but don’t let that fool you – it’s tiny in the hands.

Usually a full-frame camera would be the choice tool for this sort of low-light pursuit, because the larger sensor gives the camera a greater light-gathering ability and thus improves low light performance. But full-frame cameras are incredibly expensive, and most of them very bulky. Therefore a m43 camera with the best possible sensor is of great interest to me. It enables me to photograph using higher ISOs (to compensate for the lack of light in dark environments) while retaining high image quality with low noise.

The new 16MP sensor in the E-M5 offers between 1 and 1 1/2 ‘stops’ of improvement over the E-P3. What this means technically is that, whereas my limit for acceptable image quality on the E-P3 was around ISO1600, on the E-M5 I find I can use ISO3200, or even ISO5000 while still getting acceptably clean and detailed images. As most photographers reading will understand, when you increase the ISO, you are able to use faster shutter speeds (which reduces the chance of blurry pictures caused by camera shake) and also make the aperture smaller (meaning more of the scene is in sharp focus). The new sensor also offers improved dynamic range, meaning more highlights and shadows are retained, giving a deeper look to pictures. That’s the benefit the new sensor in the E-M5 brings for me – cleaner, sharper, richer pictures in lower light.

Built-In Steadicam

Another of the much-touted features that Olympus has introduced in the E-M5 is a re-designed IBIS (in-body image stabilisation) system. The previous system used in my E-P3 provided 2-axis stabilisation, whereas the E-M5 provides 5-axis stabilisation, offering what Olympus claim to be 5 ‘stops’ worth of improvement. I’m pleased to say that the new system is a great success. I can take still photos handheld down to shutter speeds as low as 1/10 second using a 25mm lens, and even 1/3 second if I’m very careful. Usually in order to take sharp pictures at this focal length the photographer must use a minimum shutter speed of 1/50 second (twice the focal length of the lens to be safe).

However, the IBIS in the E-P3 was also no slouch. I found both cameras to be very good when shooting stills handheld. What impressed me far more however was the E-M5′s use of IBIS for video. The video quality on the E-P3 was very good, but it suffered from rolling shutter (where the image seems to slide sideways when panning the camera) and also a horrible jellylike wobbling effect whenever the camera was knocked in even the slightest manner. The E-M5 rectifies both of these problems.

The rolling shutter is much reduced over previous models, meaning a careful panning motion will not reveal it. Although it is still present to some degree if you use fast movements. Far better than the video mode on most other cameras. The revolution however lies in how the IBIS affects the video stabilisation.

Put simply, it is like having a Steadicam built into the camera. Panning motions are so smooth as to be completely mistaken for the camera being mounted on a rail as used in professional videography, or as if using a Steadicam, which produces wonderful ‘floating’ video free from the shakes and wobbles we’ve come to expect from footage shot by the average consumer.

I tried the camera on several different occasions to test the IBIS when using video. When panning while standing still, there is absolutely no wobbling at all. The video is as smooth as can be. When walking with the camera however, the new IBIS is not quite as good as a true Steadicam. It is far, far better than trying to walk with a traditional video camera, however. Most bumps and shakes are compensated for, giving a much smoother playback, but any great movements are translated into a sort of ‘shifting’ effect. I especially noted this in horizontal movements. It really is the sort of thing you’d expect to see if the sensor had moved in order to compensate for shaking. However, with controlled, slow walking, it is possible to shoot very nice, smooth video indeed. A definite thumbs up from me!

Peeking Into The EVF

One of the biggest surprises for me, and the reason I feel the camera surpassed my expectations, was being able to use an EVF for the first time. Although an EVF was available to buy separately for the E-P3, I never wanted it as it added too much height to the camera and was also quite expensive. I also felt that I did not need it, as I shot entirely using the monitor on the back of the camera.

But taking a look through the E-M5′s EVF, and it was as the whole world had been lit up. The viewfinder is 1.15x magnification and looks vibrant and colourful, with no visible lag at all. I found it especially useful on bright, sunny days where the rear screen would appear washed out and difficult to see. I’ve always just accepted this, using the histogram to avoid clipping the highlights of the shot. I was always surprised to see my pictures looking brighter than I expected back home when viewing them on the computer in Lightroom 4.

But with the new EVF built into the camera, I can now compose shots and see the picture as it will look when taken. I can see the changes I make to the exposure compensation, where the focus point is and what my camera settings are. I can also use a new feature that allows me to manipulate the highlights and shadows individually, effectively controlling the output of the picture without needing to take it into the digital darkroom!

Another fantastic feature is how the IBIS stabilises the viewfinder itself. This really becomes a big deal when using a telephoto lens like the Olympus 40-150mm. As I mentioned before, it is like having a built-in Steadicam helping you to track movement and shoot when the shutter is half pressed. Not only that, but this stabilisation also works in zoom magnification mode. If I want to focus manually and check the precise focus point, I can zoom in as much as 14x, half press the shutter to stabilise the view and make fine adjustments to my focus before fully pressing the shutter and taking the shot. It’s exceptionally useful with telephoto lenses, and also when shooting with a macro lens where slight movements can ruin the focus of an image.

Professional Feel and Control

The AF of the E-M5 is as fast as, if not faster than the E-P3 with single shot autofocus. It’s so quick that I really don’t have much else to say, other than it has rarely caused me to miss a shot. As I said in my E-P3 field report, the AF is basically on par with APS-C DSLR equivalents. The only area where further improvements could still reasonably be had is in the continuous focus tracking mode, for use shooting sports and other events with lots of movement. The E-M5 has improved on this area a lot over the E-P3, but I still feel that it is not quite as accurate and nippy as a DSLR. Perhaps in the ‘pro’ OM-D camera Olympus will likely introduce in the future?

The 9fps shooting speed that the E-M5 is capable of is only useable when without AF and IBIS turned on, but it’s certainly a welcome addition over previous PEN models. I’ve used it for bracketing shots when creating HDR photos. You can shoot a maximum of 7 photos in bracketing mode to capture the dynamic range of the scene and then combine them later in software. Using the 9fps shooting speed, this is done in an instant and it may even make handheld HDR bracketing possible. It’s also worth noting that the E-M5 is compatible with 3rd party intervalometers such as the JJC TM-J that support the Olympus RM-UC1 remote to do timelapse shooting.

The handling and overall feel of the camera however is just delightful. The body is weather-sealed – you can find people pouring glasses of water of the camera and shooting without a problem – and made of a very tough magnesium alloy. Note though that ‘weather resistant’ is not the same as ‘water proof’ and I would not advise dunking the camera in water.

In addition to the tough frame, the camera also comes with a nice grip and slightly protruding thumb ‘hook’, which really helps in holding the camera firmly. For users who need more, there is an extra battery grip available separately which allows trouble-free landscape and portrait shooting, as well as an extra battery compartment for longer shooting sessions. Spare batteries are a must with m43 cameras, as the liveview monitor and EVF consume a lot of power, making the battery life significantly shorter than DSLRs. I typically go through 2-3 batteries on a full day’s shoot.

The E-M5 has been designed to offer plenty of customisation for the semi-professional photographer. On top of the camera are two separate dials which can be used to adjust a variety of settings, depending on the mode you are shooting in. I usually shoot in aperture priority mode, which means I can set the front dial to adjust the exposure compensation to make the image brighter or darker, and the rear dial to adjust the aperture number. A cool little surprise I had here was the ability to finally be able to use the camera while wearing a pair of gloves. It was close to futile to try and adjust the settings on the E-P3 while wearing gloves, making shooting on cold days rather uncomfortable. With the E-M5, I am able to change the top two dials easily with a normal pair of gloves making basic shooting possible, although using the control pad on the back to dig into the menus is still very tricky.

On the topic of the control pad, that too is customisable, as well as two function buttons and also the record button. This means it is possible to set up the camera to shoot in pretty much the exact way you like. There are also several ‘MyMode’ options to allow you to save sets of customisations. There’s certainly no problem setting up the camera to do what you want it to, although the menus are deep and there is so much customisation that beginners will be daunted by the prospect of configuring the camera. I’m provided my settings in this post as well as how to change them to help get you started.

Another little tweak that I love is the offset tripod mount (moved to accommodate the additional battery grip that the E-M5 is able to use). This means that I can now change the battery while the camera is mounted to a tripod plate. Thumbs up!

My Settings

I use Aperture Priority Mode most of the time. My main camera settings are as shown in the top-down image below, with instructions on how to find and adjust the most useful settings I’ve discovered.

Click here to download the full E-M5 instruction manual. (Mirror here)

Changing the shutter button settings:

Menu > Custom Menu > A Menu > AEL/AFL > S-Af > Mode 1

Enabling half-shutter-press with image stabilisation:

Menu > Custom Menu > C Menu > Half Way Rls With IS: On

Enabling AF/half shutter press while zoomed in:

Menu > Custom Menu > D Menu > LV Close Up Mode: Mode 2

Changing the button settings:

Menu > Custom Menu > B Menu > Button Function

Fn1 = My1
Fn2 = Magnify
Record = MF
Control Pad = Direct Function
Right Control Pad Button = ISO
Down Control Pad Button = Burst Mode / Self Timer
(Left Control Pad Button = Focus Point Select) *Non-adjustable
(Up Control Pad Button = Aperture / Exposure Compensation Adjustment) *Non-adjustable
OK Button = Super Control Panel

Enabling the Super Control Panel:

Menu > Custom Menu > D Menu > Control Settings > P/A/S/M > Live SCP: On / Live Control: Off

Adjusting the auto ISO limits:

Menu > Custom Menu > E Menu > ISO-Auto Set > High Limit: 1600

Note well: I set the high limit to ISO1600 for regular use as I use Auto ISO a lot. I change the high limit when I am shooting in demanding conditions and require a faster shutter speed, otherwise I find that ISO1600 and the great IBIS provide me with enough stabilisation to get sharp shots in most cases. If I needed a faster shutter speed, I would set the high limit to ISO3200 or ISO6400.

Turning on IBIS when using burst mode:

Menu > Custom Menu > C Menu > Burst Mode Icon + IS Off: Off

Note well: Set this option to ‘Off’ in order to use the image stabilisation when shooting in burst mode (several shots in one go). If you change the setting ‘Burst Mode Icon + IS Off’ to ‘On’, you will not be able to use IBIS when shooting multiple images at once. When I first got the camera I mistook this setting, which led to blurred shots in burst mode because the IBIS was switching itself off.

Adjusting noise reduction and colour cast:

Menu > Custom Menu > G Menu > Noise Reduction: Auto

Note well: This mode will be blanked out if you have selected ‘burst mode’ shooting. Switch to single shot mode before trying to change this function. Noise reduction is used in long exposures to reduce noise caused by the sensor heating up.

Menu > Custom Menu > G Menu > Noise Filter: Low

Note well: This is the noise reduction for Jpeg images. Turn it to ‘Low’ or ‘Off’ to retain more detail.

Menu > Custom Menu > G Menu > WB Auto Keep Warm Color: Off

Changing the image recording mode and IS:

Menu > Shooting Menu 1 > Picture Icon > Still Picture: Large Normal + Raw

Shoot Large Fine Jpegs if you intend to use Jpegs for the majority of your work. I use Raw and shoot Jpegs only as a backup.

Menu > Shooting Menu 2 > Image Stabilizer > IS1

Setting up the bracketing mode:

Menu > Shooting Menu 2 > AE Bracket > 7f 0.7ev

For times when I want to bracket (shoot pictures with exposure compensation automatically applied either side of the default), I use the Function 1 button. Set up your camera first and save your settings under one of the MyModes. Then, change the settings to the ones you will use in bracketing mode (or whatever MyMode you wish to set up) before saving a new set of MyMode settings especially for use when bracketing.

I typically envision myself bracketing while the camera is on a tripod, so I set ISO 200, IS Off, 9fps shooting mode and shoot 7 frames at +/-0.7ev. This gives me 7 shots: 0 (normal exposure), as well as +0.7, +1.3, +2.1ev and -0.7, -1.3 and -2.1ev. Best of all, doing this in the 9fps burst shooting mode (which turns off IBIS and locks focus automatically), this is all done in an instant (well, less than a second, when there is enough light)! Perfect for creating HDR images later in Lightroom 4. It would have been nice of Olympus to offer 7f at +/-1ev to bracket the entire exposure compensation range however. I have no idea why they did not do this.

The only caveat with this system is that you have to hold down the function 1 button while you press and hold the shutter for bracketed images. You cannot use the self-timer to shoot all 7 frames at once (although you can use a remote). This is a shame really. I would much prefer to click the function 1 button once to switch temporarily to the bracketing mode and set a 2 second timer to shoot all 7 frames in one go. This way, I would eliminate minor vibrations caused when I press and hold the shutter button and function 1 button together. This should be easy to change in a firmware update. Please, Olympus!

Setting up Live Bulb / Live Time:

Menu > Custom Menu > E Menu > Live Bulb: 0.5sec
Menu > Custom Menu > E Menu > Live Time: 0.5sec

Note well: In order to use either function, you must put the camera in Manual Mode (M) and scroll the main dial until you see the option.
Live Bulb updates the images as long as you keep the shutter button pressed. Probably best used with a remote or cable release. Live Time starts updating one the shutter button has been pressed and finishes when it is pressed once more. These functions are great for fireworks, light painting and other creative effects involving movement!

Minor Criticisms

I have not found a great deal to criticise the camera on, but no review would be complete without a full assessment, so here are a few niggling complaints that I have.

The camera makes a low fan-like/humming noise when switched on that is audible in quiet environments. This is normal and a result of the always-on new IBIS system. Most users will not be able to hear it in regular shooting, but I could hear it quite clearly in my apartment while holding the camera in my hands. Note however that the noise is lowered and essentially gone when in video mode, meaning it does not affect the sound recorded. However trivial this problem may seem, it is worth mentioning as many new users will be surprised by the hum when first turning the camera on, and it may prove annoying for some people who shoot often in quiet environments.

The position of the viewfinder and small size of the camera mean that for left-eyed shooters, you may find your nose slightly squashed against your thumb when holding the camera and attempting to change the rear dial on the top of the camera body. I was quite happy to switch and use my right eye for looking through the viewfinder, but if concerned about this, it would be best to check at a store first.

There is no built-in flash in the camera, but Olympus provide a mini flash unit in the box. Users who value having a flash built into the camera body may be disappointed. I used to value this feature myself until I realised though using my E-P3 that I rarely use the built-in flash at all (and quite often it isn’t powerful enough to improve pictures). For those occasions where I need a flash however, I can take the extra little flash unit with me. I mostly end up using it to trigger other wireless flashes.

The E-M5 uses a new battery that is different to the one used in the previous PEN cameras. This means that you’ll need to buy replacement batteries (I take 2 spares on a heavy day’s shoot). Olympus are usually pretty good with this though, and I think we can expect the new battery will be used across the OM-D line in future models. Furthermore, I’m sure 3rd party batteries will appear on the market at lower prices in a few months, if you find the Olympus prices too high.

The camera is rather expensive and has lots of customisability. This isn’t really a negative so much as a realistic assessment. For many point-and-shoot upgraders, the E-M5 may be more than you need. Indeed, the camera is larger than other PEN models (although mostly in height) and offers lots of flexibility to customise controls, meaning the menus are absolutely packed with features. Although you can just use the camera in P or iAuto mode, you can find much cheaper PEN cameras that still offer great image quality in a much smaller package. For those who want the best possible image quality and value the EVF and extra controls however, the E-M5 will not disappoint.

Summary and Conclusion

I imagine many of you skipped right down here instead of reading the full review. I do it myself quite often! I won’t disappoint you then, so here’s a basic summary of my thoughts and impressions after using the camera for a couple of weeks.

The E-M5 is a well-received upgrade from the PEN series of Olympus micro 43 cameras. It has a new 16MP sensor offering 1 to 1 1/2 stops of improvement in noise performance, meaning I can now shoot at ISO 3200-5000 without an issue. On my previous camera, the E-P3, I only felt ISO1600 was the acceptable limit. The sensor also offers improved dynamic range, meaning brighter highlights and deeper shadows are retained. I’m finding that I’m capturing more detail in the skies and areas of shade, and having less problem trying to avoid clipping the highlights. That’s the real improvement of the E-M5 for me – image quality. But there’s so much more.

The new weather-sealed magnesium alloy body feels really good in the hand. At 425g with battery, the camera has a marvellously pleasant heft to it and lovely grip with protruding thumb ‘hook’ that enables stable handholding. The two new dials on top of the camera body allow the user to adjust the most important camera settings (such as the aperture, shutter and exposure compensation) without having to dive into the menus. The camera also features an array of customisable buttons on the rear control pad and also on top of the camera, meaning it is possible to set it up to shoot exactly as you like.

Autofocus is as fast as the E-P3, and probably even a bit better. It’s so quick that any sort of test I could do would be very difficult to judge. Olympus have also improved the continuous tracking mode which enables shooting moving objects at 4fps, although I feel that this mode is still not quite as good as DSLR equivalents. Much better than the E-P3 however. The new IBIS acts as though a Steadicam is built into the camera itself, providing a stabilised viewfinder and sensor. For stills, the camera is as good as the E-P3 and allows me to shoot handheld at very slow shutter speeds, even as low as 1/3s. For video, the IBIS makes buttery smooth footage easy and will be a revolution to consumers tired of watching shaky, amateur videos. It really is that good.

For users who have been waiting patiently for a built-in viewfinder, you can all breathe a sigh of relief. The EVF in the E-M5 is beautifully vibrant and lag-free and makes shooting in bright conditions very pleasant. I was never a viewfinder user myself, but find myself a convert after using this one, especially with the stabilised view even when zoomed in to check critical focus. The only thing I might like to see is a slightly larger magnification in a future model. A couple of unexpected treats too – the dials on top of the camera mean I can now adjust the main settings while wearing gloves, making shooting on cold days more bearable, and the offset tripod mount means I can change batteries even while the tripod plate is fixed to the camera. This saves quite a bit of time in practice, because the m43 camera battery life is comparatively quite short when compared to DSLRs.

Many people will undoubtedly be wanting to compare the E-M5 to its nearest neighbour the Panasonic GH-2. I’ve never owned a m43 Panasonic camera myself, so it would be unfair of me to try and compare the two cameras, but from the image quality I’ve seen online it’s very close, with the E-M5 holding the edge. You may also find the Panasonic G-3 a cheaper alternative that offers competitive image quality but without the wonderful metal feel of the E-M5. Similarly, the Sony NEX cameras such as the NEX-5N will give you better image quality than m43 cameras, but at the expense of a wide-ranging and small lens selection and arguably at the expense of functionality and general feel in the hand.

Indeed, I feel the E-M5 is so good that it will be difficult for Olympus to improve on this model, having so successfully overcome many of the initial problems of the PEN lineup. Back in 2009 when I pre-ordered the PEN E-P1, I was finally looking forward to having a small camera that could deliver great quality results. But the autofocus was still sluggish compared to DSLR bodies and image quality, while very good, still couldn’t quite match the equivalent APS-C quality at high ISOs. In 2011 we saw the E-P3 finally address the autofocus problems with the PEN cameras, and along with the Panasonic GH-2 brought contrast-detect autofocus up to speed with phase-detect autofocus for most shooting situations. With the E-M5, Olympus have further improved on the autofocus speeds, adding a tracking function capable of following moving objects, as well as a 9fps burst-rate function for sports photography. The tracking mode is a definite improvement over previous models, but it isn’t perfect and DSLR equivalents will still take home more keepers when shooting sports. However, with Olympus registering new patents to try and make AF speeds for the older 43 lenses faster and their reluctance to call the E-M5 a ‘pro’ model, I think there’s a fair chance that their m43 flagship model is yet to come.

As such, there isn’t a great deal I’m left wanting from the E-M5. Perhaps faster AF tracking for sports and full speed AF support for older 43 lenses when used with an adapter (there does not seem to have been much improvement here between the E-P3 and E-M5). Also, 1/8000 second max shutter speed and ISO100 (the range begins at ISO200, like previous PEN models) would be welcome. A mic-out port for monitoring video using external headphones and 24p mode would also be nice.

It will be exciting to see what Olympus can innovate next to improve upon the camera. I look forward to seeing their micro 43 pro model in time. But for now, the E-M5 is everything I need in a camera and much more. Small, lightweight, robust and capable of outstanding image quality. In my opinion it has firmly taken the middle ground as the best all-round compact system camera you can purchase today, especially considering the near-complete micro 43 lens lineup. I have a feeling I’ll be using it for a long time on my various adventures, assuming the camera otaku within me doesn’t get the upgrade itch again too soon :).

-Michael Gakuran, April 2012

Update: 25th April 2012, 11.24am. After a vigorous social media campaign, the Daily Mail contacted me and agreed to pay me for use of my images as well as crediting me properly. They added a link to my website and finally paid the invoice we agreed on. See the bottom of this post for more details.

Not only that, they cut off the watermarks from the bottom of all but one photo and re-sized several, blowing them up to larger sizes which lowered the overall image quality. As a photographer, that disappoints me more than anything, as the edited images just look terrible. Indeed, one comment on the article described them to “appear to have been taken with a 2002 model of Nokia.”

The Daily Mail did have the courtesy to credit me with the images, adding their own black-box watermark with my name, although they did not link to my website or the original article which they took the images from. I also tried twice to leave a comment on the original article but as of yet it has not appeared (despite other, newer comments appearing), meaning it did not make it through their moderation process, for whatever reason…

The article is here: http://www.dailymail.co.uk/news/article-2126264/Hashima-aka-Gunkanjima-Photos-desolate-Battleship-Island-coast-Japan.html.

It is also being discussed here on Daily Mail’s Google Plus page, as well as here, here in Japanese.

Naturally the first thing I did was to grab a screenshot of the page and log it on Verionista which you can view here, just in case they decide to trying removing the content and running. You can see the full screenshot here. Article was re-published here. Google cache link is still not ready.

Next, I typed up an email to the editor and included my prices, based on the standards set by the National Union of Journalists. Basic rates here and for online images here. My email is as follows:

Dear Sir/Madam,

I am emailing you in regards to the article published on the Daily Mail website ‘mailonline’ entitled:

The most desolate city on Earth: Take a tour of the ghostly Battleship Island crumbling into the sea off the coast of Japan

Link: http://www.dailymail.co.uk/news/article-2126264/Hashima-aka-Gunkanjima-Photos-desolate-Battleship-Island-coast-Japan.html

I am flattered that you liked my photography and appreciate you giving me credit. I am however not pleased that you published the images without first contacting me to ask permission and without paying me for use of my work. I’m also unhappy that you cut off the watermark from the bottom of most of my images and also blew up several images, thus lowering the quality of the work.

Below is my invoice for the use of 11 images to which I own the copyright. The rates per image are as recommended by the National Union of Journalists.
Link: http://www.londonfreelance.org/feesguide/index.php?language=en&country=UK&section=Photography&subsect=Online+use+of+photos

Invoice:

800px+ size: £175 x 6 images = £1,050
600px size: £130 x 5 images = £650

Preliminary total: £1,700

Doubled for unauthorised usage:

Total: £3,400

Regards,

Michael

After that, I dropped the editor of the British Journal of Photography a quick line asking for any help or advice, as they seem to have covered these stories in the past.

I’m currently waiting for replies from both editors, so there will undoubtedly be updates to come.

In the meantime, I’d like to request that you share and link to this article as much as possible. In the past people have had success in getting the Daily Mail to pay for the use of photos they have used without permission, although not without quite a fight. I’ll need all the backing and support I can get to bring this issue to the attention of other media outlets and for the Daily Mail to take me seriously. It’s not just a personal issue either – this sort of thing happens to photographers all the time, and we must stand up against it and make it known that photography isn’t free to use just because it’s on the internet.

It’s completely unacceptable for a major media outlet like the Daily Mail to take photos without permission, edit them and use them commercially. Replacing my watermark with their own does not grant them free usage rights, and it says very clearly on my About page that I do not give consent for my work to be used in a commercial context without prior permission.

Well, we’ll see if they respond…

*Update 8th April 2012, 01.00am* Thank you for all the re-tweets and messages. I’m currently in contact with a lawyer and also hearing from people who have suffered similar copyright infringement at the hands of the Daily Mail. Please keep up the support by spreading the word, especially to large social media sites like HackerNews, Reddit, Digg, Stumbleupon and any other media outlets. The more pressure is on the Daily Mail, the more likely they will take notice. I really appreciate the help, thank you.

Now trending in London:

*Update 8th April 2012, 03.00am*

It looks as though the Daily Mail has tried to pull the article from its website. But it’s too late. I’ve got the screenshots and the article is saved in Versionista for all to see. I shall be proceeding with my invoice as planned. Please continue spreading the word – I really appreciate it.

*Update 8th April 2012, 03.32am*

The article is back up on the Daily Mail website – perhaps they saw this post and realised I already made copies? I’ve no idea what they are doing, but please keep pressing the issue. I’m gathering information to make a small claims appeal.

*Update 8th April 2012, 04.00am*

Adding HackerNews and Reddit links discussing this article.

*Update 8th April 2012, 04.35am*

Received email from Steve at Associated Newspapers, but when I tried to reply, the email bounced. Steve, please email me from an address I can reply to. Many thanks.

From:
DM Online Pictures
*******@assocnews.co.uk

Message:
Hi Michael. I’m in receipt of a web blog regarding the use of your
images on the daily Mail Online. Could you please forward a contact
number so as to resolve the matter and any other issues arising.
Regards: Steve

*Update 8th April 2012, 04.50am*

Steve got back in touch, so hopefully we can start moving things along now and processing that invoice. Just as well I was posting this all on my website, or we might have been waiting a while before they realised I couldn’t reply to the email :).

*Update 8th April 2012, 05.50am*

Received a phone call from Paul, picture editor of the Daily Mail Online. I’m pleased to say that we had a polite conversation and he apologised for the misunderstanding. Apparently the images were posted online overnight without his full understanding. It was his impression that I had been contacted and had given permission for the Daily Mail to use my images. I had received no emails, but felt that Paul’s response was sincere. Given that he has recently taken over as Picture Editor for the Daily Mail from the original editor and was keen to try and improve the Daily Mail’s image, I was happy to give this matter the benefit of the doubt.

After some negotiation, I agreed to waive my unauthorised usage fee and settled for an undisclosed amount lower than the fees set by the NUJ. The amount I received I felt was justified for the use of the images, given that there were many images being used together as a set in single post. Quite often 2nd and 3rd images are charged at lower rates than single stand-alone images, which I had not factored into my original calculations. Paul also agreed to update the article giving proper credit to me by linking to my website (which has now been done) and also expressed interest in using other photos of mine in the future. In short, I feel that the matter was resolved in an amicable manner and pleased to see the Daily Mail taking this matter seriously.

I’d like to thank everyone on Twitter and other social media sites for their help and support. It’s now 6am in Japan and I’ve been up all night dealing with this, but the speedy response and satisfactory conclusion were no doubt due to the pressure everyone helped apply. I’m one again left in awe at the power of social media and hope to return the favour to you all in the future. I’m still awaiting payment however, and will update this post when I receive payment to finally bring this matter to a close.

Also, many thanks to Brent Martin, Solicitor Advocate who works at http://bullivant.uk.net/. He contacted me very early on and offered his advice and help voluntarily, and it made a big difference in helping me have the confidence to properly negotiate a price. Although I do not know anything about the company (indeed, the website currently has no content), his personal advice was very useful. His email is: BMartin AT bullivant DOT uk DOT net and he is on Twitter here.

*Update 12th April 2012, 09.00am*

After a bit of a drop in communications, due mostly to the UK Easter Holidays and the picture editor being away on vacation, things finally got moving again. Paul took time out on his holiday to refer to the matter to other colleagues who were working and Dan promptly took care of filing my invoice. Apparently I should be paid by Wednesday next week. Fingers crossed! Pleased to see things moving along quickly despite the initial headache. It doesn’t absolve the Daily Mail of their actions, but it does go some way to restoring faith that photographers will get paid, although only if they realise and get in touch with the paper…

Another photographer, Rob Greer, contacted me to say that he was in the exact same situation of having images taken without permission and without payment and is currently trying to get in contact with the Daily Mail to file his invoice. The Daily mail article is here (NSFW):

http://www.dailymail.co.uk/femail/article-2102667/Who-fat-dimpled-wrinkly-broad-flanked-person-Woman-posed-nude-25-recreates-photos-decades-on.html

And his original article with photos is here:

http://www.robgreerfineart.com/blog/chiarascuro/fine-art-nudes-and-body-image/

Not the journalistic practices of old that we expect… It certainly doesn’t seem like this sort of thing is a genuine mistake at all…

*Update 21st April 2012, 02.17pm*

Looks like not two days after my photos were stolen, another photographer had the same thing happen to him. His photos were taken and he wasn’t provided with a link back to his website. This post was used by the Daily Mail to create this article. Peta Pixel also picked up the story here: http://www.petapixel.com/2012/04/20/the-daily-mail-stole-my-photos-and-i-got-paid/.

Still haven’t received payment on my own images, but the invoice will supposedly be processed very soon, by 25th April. Fingers crossed!

*Update 25th April 2012, 11.24am*

The Daily Mail finally sent the payment to my bank account today, which hopefully brings this issue to a somewhat amicable close. Throughout the episode however, I have seen numerous other accounts by photographers who have been subject to the same sort of underhanded practices. Images taken and used without consent, manipulated, watermarks removed, unpaid (etc.) This all taking place on a large, money-making corporation website is unacceptable. I sincerely hope that the Daly Mail stops these practices and starts contacting photographers to licence the use of their images in advance, paying them fair rates.

If, however, these practices continue and in the future other people have their work taken and used in the media without permission, I hope this article serves as a guide in how to go about being properly reimbursed. I urge any such people to stand strong and assert their rights. Make copies of the infringing content first, and then contact the picture editor in charge by telephone if possible, or email/letter if not. Be firm but polite in pursuing the payment you deserve, and don’t settle for fees lower than you deem acceptable – you will quite likely be offered rock-bottom rates at first. Make sure any terms agree are in writing (even an email is better than empty promises made on the phone). If all else fails, contact a lawyer to write a letter to the media outlet requesting payment along with your full invoice. If, as unlikely as it is, the issue is taken to small claim’s court, you will likely win. This guide may also be of use. Best of luck!

These ‘Photo Festa’ events are currently being held around Japan, beginning with the Camera and Photo Imaging Show CP+ last week. Along with the main attraction – a chance to try shooting with the upcoming OM-D E-M5 – there is also a lens corner where visitors can try some of Olympus’s greatest glass, several talks by Japanese photographers (including photographs taken with the OM-D), a free camera cleaning service and also various booths to try the existing Olympus models. You can check out the homepage here to see if Olympus is coming to a city near you. The events are free to enter, and if you bring an Olympus camera, you also receive a commemorative mobile phone strap like the one below!

Anyway, let’s get started! I’m sure most readers will have learnt a lot about the camera already, so unfortunately I cannot bring a lot of new information to the table, but in chatting with the Japanese staff, I did pick up a few things.

According to one of the staff, the new sensor in the OM-D is about 1 stop better than the E-P3, and 2 stops better than the E-5. That means, for example, that ISO 1600 on the E-P3 will look similar to ISO3200 on the E-M5. Of course, that information could just be his personal opinion, but judging from the reports I’m seeing online and the recent raw files I checked out that were posted, the new E-M5 sensor seems like a winner. In general the Olympus staff seemed pretty confident about being able to use higher ISOs with less noise. Many have also been wondering who has made the new sensor in the camera. I asked an employee and got the same response as everyone else – ‘it’s a secret’. Why exactly? It seems to be a business decision, judging from this posting on the ‘Get Olympus’ Facebook page:

Currently we are not disclosing the manufacturer. As with all camera components, Olympus does not disclose our partners until an agreement to do so is made by both parties.

According to the staff member I asked, it seems Olympus wants to avoid people judging the performance based on brand names or manufacturers. As he put it – asking who made the sensor is like asking who made the glass in the Olympus lenses. It’s all a bit pointless if in the end it delivers great quality.

The ‘hands-on’ corner was 5 minutes per person, so I didn’t get to try everything I wanted. That said, I found the handling of the E-M5 to be rather good. The grip is closer to my E-PL2 than the E-P3 – chunky enough to hold firmly, even without the additional battery grip. The camera itself, being made of magnesium alloy, has a delightful heft and feels solidly built. I found the viewfinder bright and responsive. It was large enough to view comfortably, and the image stabilisation worked liked a dream. Hold down the shutter button halfway and the IBIS kicks in; the viewfinder suddenly stops shaking around and everything just seems to become calm, which is very useful for following subjects.

The same goes for video – panning is remarkably smooth and the horrible jellylike wobble of the E-P3 video when image stabilisation is left on is completely gone. I really wanted to try walking around with the camera to see how it handles footsteps, but the camera was locked down by a wire. It probably isn’t quite as good as a steadycam, but could be pretty close if used carefully. I can see it being a huge hit among consumers tired of wobbly videos. The 12-50 weather-sealed lens was also nice, and the macro mode very useful.

Since having seen some raws from the E-M5, I’d almost been completely sold on the camera before attending the event. But there was still one thing left undecided in my mind. Which colour!? Some may find the notion of worrying about the camera’s colour rather superficial – it’s what’s inside that counts, right? I agree, but I do also appreciate good design. Both the black and silver version of the camera are beautiful, but as many know, Olympus have released quite a few silver coloured and metal lenses, like the 12mm f/2 wide lens. In some previous pictures I’d seen, the 12mm lens looked like it had rather a different shade of silver to that of the E-M5. It looked so different in that particular picture that I really wondered if the silver body of the E-M5 would properly match the lens.

I’m very happy to report that the difference is quite subtle. I mounted my own 12mm lens on a silver E-M5 body and it looked stunning. So too did the upcoming 75mm f/1.8 lens prototype that was on display. The leather-style grip of the silver version of the camera also looks very nice, so my mind was made up today. I’ll be pre-ordering a silver version :).

Another interesting booth at the Photo Festa was the one showcasing Olympus’s underwater housings. I have a scuba diving licence myself and have always been interested in underwater photography. Last year I bought an XZ-1 and Olympus housing on my trip to Okinawa, after wondering a lot about buying a housing for my PEN E-PL2. I decided not to buy a housing for the E-PL2 because of the camera’s slow autofocus. The E-P3 has much faster autofocus, but unfortunately no underwater housing. You can imagine, then, that I was very happy to learn of a new underwater housing for the E-M5. I got to see a prototype for the new housing that Olympus is building and chat with the passionate staff at the booth.

The chap above is one of the people working on the new housing (although do note, that isn’t the new housing he is holding!). He told me a little about his work, which included going to Okinawa to photograph colour charts underwater to calibrate the white balance. Apparently Olympus do this to test every housing and camera that will be used underwater, and is the reason why Olympus generally achieve good colour results, although he very humbly stated that they still have a long way to go. He also told me how they are working hard to try and meet a summer launch in Japan for the new underwater housing, but stressed that they are still unsure if they can meet the deadline as they are still developing it.

As you can see from the picture above, the current prototype does not have a fixed lens port. In fact, it’s slightly different to the picture I previously found. It was made clear to me that the final version of the housing has not yet been officially decided. I’m certainly hoping that we see a housing with removable lens ports because it will open up the possibility for 3rd-part lens ports and future-proof the housing as new lenses become available.

That’s about all of the information I gleaned from the event. The atmosphere was very relaxed and professional, and the Olympus staff cheerful and happy to help. As much as this is a PR event designed to help sell their products, I’ve heard good things about Olympus’s customer service before, and the approach they take towards the public as in the event today has been a positive experience. After all the scandals and problems the company has been having recently, it’s good to see the camera division still strong and aiming to be innovative.

To round up then, here’s a last little omake. The Olympus girl pictured above was working on the camera booths was helping visitors to try new cameras and explaining the different features. I was rather impressed with the camera she held. Apparently it is her custom-made lens cap, which included a cute little frog.

Not quite as cool as the PEN ‘f’ logo, but a nice idea. Anyone interested in making a niche startup that specialises in custom lens caps? I reckon it could be popular with girls, at least here in Japan where they enjoy decorating their electronic accessories :).

The new camera will be available in silver or black from the end of March 2012 for $999.99. As usual Olympus Japan are having their pre-launch campaign where you can receive free stuff.

The new camera has an ISO range of ISO 200-25,600 with a 16MP sensor (likely the same sensor used in the Panasonic G3, with Olympus tweaks). It remains to be seen if there is a sizeable jump in quality over the previous PEN cameras, but my fingers are crossed! Very interesting are the addition of two dials on the top of the camera. They can be set to change different settings. I should imagine many photographers will set them to change aperture, shutter, exposure correction or ISO. The function button can also be fixed to a range of different settings, such as dedicated button for autofocus. This is great news, as it means less time wasted hunting through menus and more time snapping away!

The Hump, as it has become known, on top has generated a fair bit of criticism already, and it can seem rather large when viewing the camera as a standalone object. But put it in the hands of a real person or compare it to other cameras, and you’ll see just how tiny it really is!

The reason for The Hump: to allow room for the port used by Olympus accessories.

Here are a couple of spreads showing the new camera and accessories.

Feature Highlights

1. Electronic Viewfinder with 1.44 megapixel resolution (advanced aspherical optics, 18mm eyepoint and 100% field of view)

2. World’s fastest autofocus speed using FAST-AF technology (with 35 AF zones and 3D AF tracking)

3. World’s first 5-axis image stabiliser (maximum -5 EV stabilisation capability; live image-stabilised view; built-into camera body; stills and video)

4. 16 megapixel LiveMOS high-speed image sensor (ISO 25600 maximum sensitivity)

5. TruePic VI advanced image processor

6. Full HD video with Multi-motion image stabilisation (broadcast quality; stereo sound)

7. 3 inch tilting OLED touch-screen with 610,000 pixels

8. 9 frames per second sequential shooting rate

9. Splashproof and Dustproof metal alloy chassis

Other Features

• New EVF Creative Control function provides live interactive highlight and shadow adjustment and white balance control

• Ergonomic twin input control dials

• Bundled with clip-on FL-LM2 weatherproof flash

• Wireless flash control (when the bundled FL-LM2 or the new FL-600R strobe unit, is attached)

• Shutter speed range 60-1/4000th seconds including Bulb

• 120fps maximum EVF display rate in still shooting with 29ms display lag enables sequential shooting display with minimal viewfinder delay (default frame rate is 60fps, adjustable to 120fps). Video refresh during video recording is as fast as 240fps, reducing the rolling shutter effect entirely.

• New Li-ion battery BLN-1 and new charger BCN-1

Points of (Personal) Interest

Finally Olympus have released a camera with a built-in viewfinder. I was impressed with the existing VF-2 viewfinder, but never found much need for one in my E-P3. Recently though, I’ve realised that a viewfinder can be very useful when using telephoto lenses to keep the camera steady. I know a lot of professional photographers have also been crying out for an in-body viewfinder, so this is a welcome introduction. A pity though that the built-in flash was removed. But we have weather-sealing and Olympus will bundle a small flash to act as a wireless trigger in the E-M5 box, so it’s only a minor inconvenience for me. Most of my photography is without the use of a flash and the only time I did use the built-in flash was as a wireless trigger for an external flash unit.

I’ve always found the In-Body Image Stabilisation (IBIS) on the PEN cameras to be exceptionally useful, so the claim that Olympus has re-designed the stabilisation system to move up from 2-axis stabilisation to a 5-axis system is exciting. This is especially so because Olympus claims the new system can be used when shooting video and that the IBIS will stabilise the video when walking! (The old IBIS could not be used in video mode, and instead digital stabilisation was used, causing the dreaded jelly effect). On that note, the video mode is Full HD, 1920×1080, 60i at 30 fps, recording 20 MB/s. Although the claimed 5-stop benefits sound rather exaggerated, I’ve experienced firsthand the difference IBIS makes when shooting in a low light conferences with the PEN cameras, so I’ve no doubt that the new system will be very good.

The E-M5 is fully weather-sealed to the same exceptional quality of Olympus 43 cameras (such as the E-5). It has a rugged magenisum alloy chassis to protect the internal components, as well as weather-proofing on the bundled miniature flash unit, new battery grip and the 12-50mm kit lens. I haven’t found the lack of weather-proofing in my E-P3 to be a problem yet, but the full metal body and direction Olympus is heading towards a professional line of cameras is very appealing!

With 35 AF points, Olympus is also claiming that the camera has the fastest S-AF (single shot auto focus) in the camera world. I know for a fact that the E-P3 was a huge improvement over previous models and rivalled many DSLR cameras. As I said then, whether or not it actually is the fastest in the world is largely irrelevant marketing speak. What matters is that Olympus are confident enough in the AF speeds to rate it against other professional cameras. I’ve had no problems with my E-P3 AF speeds, so I doubt I will with the E-M5. It will be interesting to see however, how much AF tracking has improved (Olympus claim there have been big advancements) and if low-light AF is faster (Olympus claim it is very accurate, but the absence of speed claims in low light is noticeable).

Of interest too is the increased frame rate for shooting. There are reportedly two modes, low and high. Low can has a buffer for 17 raw images and shoots 3.5fps or 4.2fps with IBIS switched off. High has a buffer for 11 raw images and can shoot at 9fps with both IBIS and C-AF (autofocus tracking) switched off.

New lenses! A very promising 75mm f/1.8 portrait lens (equivalent 150mm reach) and 60mm f/2.8 macro lens are set to be released by the end of the year(!) I would have liked to see them earlier than that, but I am excited for the 75mm lens. It will give a depth of field close to that of an 85mm f/1.4 lens on a 1.5 Nikon crop sensor. I’ve wanted to take shallow depth of field portait street shots for ages and often marvelled at the images made by the Nikon f/1.4 85mm lens. This looks to be the equivalent m43 lens to do it! And with super-fast AF, too :).

There will be a new underwater housing for the E-M5 available this summer! The PT-E08 will be rated to a depth of 45 metres. I’m hoping the new housing will allow connectors for two external underwater flashes – there certainly look to be two holes for connectors on the top, but it’s difficult to determine. It also looks like the camera might use a fixed lens port, but hopefully we may see third party lens ports for other m43 lenses (such as Panasonic lenses) or even wet lenses in the future! I was very close to buying an underwater housing for the E-PL2, but decided not to because of the slow autofocus. With the speeds of the E-P3 (and likely E-M5), this will no longer be a problem.

The camera also comes with a tilt-able LCD screen and additional battery grip for vertical portrait-style photography. Naturally the battery grips are also weather-sealed. Also of interest is that the tripod mount is off-centre, which means that I may now be able to change the camera battery while the tripod plate is fixed to the camera. Nice. A new flash unit (allegedly with a faster refresh rate than the sluggish FL-36R) is being released and a new flash bracket too, which should come in very handy when doing macro photography. The new flash unit also has an LED that can be used in video mode.

Another minor revolution is the “Live Bulb” mode. This mode lets you see a photo being exposed in real time for up to 13 seconds. Imagine the possibilities – when shooting fireworks, you will see the trails and can determine when to stop exposing. Similarly, with lightning photography, one can see the development of the picture and any captured strikes, choosing to finish the exposure when satisfied with the image. Or perhaps you’re into light painting in haikyo – no problem. It’s quite an exciting new feature!

Below is a size comparison chart of the E-M5 with other mirrorless cameras. Even with The Hump, it’s a remarkably tiny and solid little camera!

Official previews and other useful sites are listed below.

Sources:

OM-D Official Site
43 Rumors
Olympus.co.jp
Accessories
Olympus.au
Olympus.au
Dpreview
Eprice High ISO samples

This one above I photographed on my recent trip back to Okinawa in the famous Churaumi Aquarium in the north part of the island. Just a mere baby, but what wonderful colours and textures! These things were about the size of a tennis ball, all soft and squishy and hovering in the water by moving the delicate ‘skirt’ fins encircling their bodies. Quite naturally, everyone that walked past was overcome with happiness at seeing the little bundles of joy.

I wouldn’t have ever imagined it, but seeing them in the wild up close really made me a fan. They’ve joined my list of favourite creatures, including frogs, jellyfish and the porcupine puffer :D.

P.S. No bioluminescence in this little creature, but some beautiful iridescence! Cuttlefish use chromatophores to change colour quite easily, blending in with the background and signalling mates.

My grip tightened around the camera and I squeezed the trigger until the camera’s buffer was completely full. After two day’s shooting, we couldn’t have asked for a better send-off from our old friend. Goodbye Gunkanjima, until we meet again.

**********

I re-processed the above image and saved it at 1280x800px. Click the photo for the larger version – perfect for a desktop wallpaper if you feel so inclined :). You can find the original version of this photo here. Which do you prefer?

If you haven’t already, check out my set of photos from my exploration of the Holy Grail of Haikyo.

Be sure to follow me on Google Plus to stay updated.

*This is a re-post of a February 2011 update*

Finally! It’s been 2 long, infuriating years, but the lens we’ve all been waiting is finally here! A bright f/1.8 portrait lens for the micro 4/3 format with delicious bokeh. It arrived on my doorstep a few days back and I’ve been just positively itching to take it out and give it a whirl. Here’s my first set of shots.

As per my usual habit, I decided to first take the lens out on a night walk around the city. It’s a demanding environment for the E-P3, even with this bright f/1.8 45mm lens snapped on. Most of the shots I took creeped up to ISO1600 (using auto ISO), which as many will know, is the rough limit for reasonable quality pictures out of the camera. All were shot at f/1.8. Let’s dip under the curtain and out into the streets of Japan!