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!

Japan’s sex museums (hihokan – 秘宝館) are in decline. Historically tied to tiny onsen (hot spring) resorts, they were places for the average person to liberate themselves while on vacation. But there are very few prominent locations left for the curious person to visit. In May of 2011, the famous sex museum near Beppu hot springs closed its doors after 35 years, replaced by an exhibition space for Buddhist art and sculptures. Hokkaido Hihokan, operating since 1980, shut up shop in 2007 and had several valuable items stolen in 2010. The International Sex Museum in Mie prefecture ran from 1972 to 2007. There are fewer and fewer really notable locations left on the map now, with perhaps the museum in Atami hot springs being the most prominent – Atami Adult Museum.

Why exactly these pieces of history are dying out is a story in much need of proper research and perhaps an idea for another post. But today I’d like to take you inside to see the remains of one of Japan’s best sex museums. Buried amongst the relics were a few copies of the old publication ‘Sankei Weekly’, precursor to Japan’s current SPA! magazine aimed at young people. In its November 23rd edition of 1978, I found a PR article that talks about the opening of the museum itself way back on 1st October 1978. Apparently the museum was opened with the cooperation of local inns and volunteer organisations under the head of one Mr. Okano, who says that he started the museum out of love for his local town and community. The theme was based on sex – the eternal love of mankind – and featured many unique items and statues from around the country and overseas. According to other haikyo websites, this sex museum regrettably closed its doors for the last time in the later half of 1997.

In case I hadn’t been clear enough already. If you are easily offended by adult material, read no further! We’re about to pass the point of no return!

Welcome, One and All!

On our exploration, haikyo friend Florian and I approached the abandoned museum through a back door, tellingly painted with the words ‘Nude Entrance’. It’s likely that dancers would have entered through here to access the main stage for the strip shows that took place in the facility. But the museum itself was designed with a purpose. Let me walk you through it as the owner originally intended.

Crossing over a small bridge, we come to face the large, white facade of this castle-like structure. It truly is quite remarkable in its architecture, mimicking that of a traditional Japanese castle or residence for nobles. In front of us is a hefty wooden door, guarded by a stone statue depicting the God of Wealth ‘Daikokuten’. Below our feet, a mat embedded with the words ‘Home of the Traveller’s Guardian Deity’ (道祖神の里). In the soggy tourist pamphlet we’ve picked up we learn that, at one point in time, this sex museum had the largest collection of these stone gods. The statues are often seen on roadsides where travellers pass. As the museum matured and the exhibits expanded however, more and more graphic ornaments were collected to go on display. Presumably they were more popular than our guardian deity!

Inside the main entrance, we’re greeted by an empty ticket kiosk with a couple of tiny security monitors and an old telephone inside. The price of admission is a welcoming 1,300 yen – not bad for entry to what is becoming a dying breed of museum! Pacing down the hallway, we see that mould has quickly begun to take over. Wallpaper has begun to peel and dirt is strewn across the floor. We can imagine the grand entrance in its heyday though, and it isn’t long before we are greeted with our first signs of traditional erotica. Emblazoned across several large panels is an enlarged version of a piece of Japanese shunga (春画) art. ‘Pictures of spring’, as the term translates. A euphemism for sex. It certainly leaves little to the imagination!

Praying for a Bountiful Harvest

Next we enter the main shrine area, presumably to pay our respects and cleanse our minds before peeking further into the dark depths of the museum. A grand vermillion facade stands before us to mark the entrance to the Shinto shrine.

Inside the main shrine, below the shimenawa rope marking the boundary of the sanctuary, is a detailed carving devoted to fertility. As we’ve learned before, Japan still has several fertility festivals, which are linked to older harvest rituals and held to pray for the healthy and abundant flow of new life into this world. To the average person though, at first glance they seem to be little more than an opportunity to parade around a giant wooden penis and free one’s animalistic desire for the day. But there is a deeper meaning there. And hey, perhaps the country could use a few more of these festivals. It’s struggling with a declining birth rate after all!

After paying our respects at the shrine, we continue walking through an artificially recreated natural environment. On either side of us are numerous stone phalluses, some towering several feet high in the air. A garden of mushroom penises greets us in the approaching grotto, complete with stone labia and masturbating statues of chimps.

Ducking down slightly, we walk through a short tunnel and find ourselves making the transition into the next area of the museum. Here, we find a new collection of carvings and statues. Judging from the signs that drape down from below each one, these statues were collected from various shrines and temples around the country.

In the centre of the room is a familiar sight. A large, wooden phallus housed cosily inside a mikoshi portable shrine. This is very much like the one I saw at the fertility festival a couple of years ago, although this particular member is indeed smaller and of dubious quality. Certainly not in the same league as the beastly trunk that needed the strength of 10 men to bear it at the festival. But the feeling is there, at least. These are important parts of Japan’s culture, and if you can get past the sheer shock of seeing such a bold manifestation of the male organ, there really is a rich history infused with deeper meaning and community behind it all.

Erotic Art and Titillating Statues

Onwards and onwards we walk. The place is pitch black of course, having been stripped of electricity for years. It doesn’t have many windows either, so the air is musty and full of mould spores. We don’t notice this at the time however. I mean, would you notice it when surrounded by such subject matter? We paid for it later though; lots of coughing and gargling to sort our throats out. But anyway, let’s hold on a little longer. We pass through another room filled with more stone statues of unknown people in curious, twisted embraces. A komainu – the dog/lion guardian of many shrines in Japan – appears around a corner. Only he’s looking rather…different. Instead of a ferocious lion head, he’s sporting a… Well, I should think you’d be able to imagine by now.

Off to the side is a room sectioned off with curtains. At first we think it might be a changing room for the dancers, or perhaps a small theatre of some sort. It turns out though that it was a special room that displayed erotic ultra-violet paintings. Above us were the telltale black tubes that are needed to send out the UV light. For 300 yen, you could view this ethereal world showing artistic impressions of fornicating couples and genitalia and giggle at how white your friend’s teeth looked in the darkness. Unfortunately for us, there’s no way to illuminate the pictures, so we must make do with squinting our eyes and turning our heads to the side to try and make sense of the pinks and yellows in the abstract paintings. Perhaps a return trip is in order, complete a with black UV torch.

In the room connected, we find a collection of Japanese shunga paintings. These erotic pictures are primarily associated with the Edo period and ukiyo-e (woodblock prints) and varied wildly in the sexual acts depicted. One infamous print was done in 1814 by the master himself – Hokusai. It’s entitled ‘Dream of the Fisherman’s Wife’, if you are curious to take a look at it…

Allegedly, almost all ukiyo-e artists made shunga prints at some point in their careers. The prints were enjoyed by a wide variety of people, and making such prints did not lower the prestige of the artist. Unfortunately, many of the pictures in this room were badly succumbing to mould and decay. Although it was still possible to make out the graphic scenes they depicted.

A Nightmarish Discovery

Afterwards, we progress to the final room of the main museum. We’re in for a treat – they certainly saved the best for last! A lush, red carpet stretches out in front of us, and to our right, several large, full-body mirrors. We can see a human-like shape reflecting in the dim light of the room.

Is somebody else here??

For a brief moment, I panic. The exhibits had been so engrossing that I’d quite forgotten that they may be other people sneaking around this abandoned sex museum beside my friend and I.

Nervously, we turn the corner. Definitely a humanlike shape, but… No. A mannequin. Of course! In fact, several mannequins, or at least the disjointed remains of several. A couple of pairs of smooth legs. A broken arm or two. And in the centre, a full-bodied female, covered in crackling paint and dust. Even though time alone in this deserted museum hasn’t been kind to her, there are still touches of her former glory left. The rouge on her checks and lush lipstick. The eyeshadow and fake eyelashes. In a certain light, she looks almost innocent. Perhaps almost nervous standing there in the darkness. It’s not often she receives guests, I suppose.

But as I move my torchlight around, something incredibly chilling occurs. The once innocent expression she wore to greet us is transformed into a nightmarish disfigurement. Her eyes appear sunken, rolling deeply back into her plastic skull. The false eyelashes she wears stick our like razors and her peeling skin – it screams out at me with memories of pain. It’s truly a terrifying sight to behold there, alone in the darkness. My buddy doesn’t see it; he’s away photographing another area of the room. I’m left there wondering what evil intentions my plastic companion has for the two intruders standing before her.

Shuddering, I snap a few more pictures and turn around to take in the room in its entirety. A red carpet covers the floor, and several plastic pillars mimic old Greek stone columns. The room has a very regal feel to it, apart from the softcore pornography pasted up on one of the walls. I wonder to myself if it was a later addition. I do know from flicking through the old museum pamphlet that this room used to have mannequins that were crouched down, bent at the knees in a seated position. Apparently they were actual seats for the museum guests to sit on. Apparently there were also pornographic films on display all day at the museum, from the 9.00am opening to the 11.00pm closing time.

We also know that there were two or three very expensive wax models that used to live here. Actresses Marilyn Monroe and Sofia Loren were stood in booths sporting very sexy poses. There was also an elaborate wax sculpture of Emmanuelle – the lead character in the series of softcore erotic French films – that sat in a woven bamboo chair in the corner, just like the actress on the original 1974 theatrical poster. The wax models apparently cost upwards of 5,000,000 yen ($60,000 or £38,000) each and took approximately 3 months to make, so its no wonder that they were stolen back in 2009. Or removed by the owner – we can’t be sure. By that time though, they had already succumbed to a nasty mould infestation and looked quite the part in this rotting haikyo. It’s a pity that were weren’t able to meet, as the photos I’ve seen of the decomposing wax models looked amazing.

There was however, one last surprise. Nestling in the corner of the very same room was a long glass box. In previous photos I’ve seen, this box contained a mannequin that was covered by a fluffy, pink cloth. In could see however, from a short distance away, that the pink cloth was no longer covering the figure. A small shiver spiked down my spine and I walked over to the mysterious glass box. A hole had been smashed in the top, and it was rather dusty, but sure enough, inside I could see the armless form of another female mannequin. On the outside of the box were a series of buttons that I assume moved parts of the mannequin inside. I could see a few wires and…and…

What on earth is going on here??

Shining my torch inside the glass box, I examined the female form. Naked, from the feet up, except for a pair of high-heeled shoes. The face was similar to our plastic Jekyll-and-Hyde friend from before. But there was something strange about the breasts. Something protruding upwards and outwards at an unnatural angle.

The mannequins’s nipples were horribly distorted. Twisted into what I can only understand was supposed to be a dildo of some sort. A sex toy that visitors would manipulate by pressing the buttons on the outside of the box. I have no idea what the purpose of such a setup was, other than perhaps to titillate the visitors. I felt a little sorry for her though, trapped in her glass box in such a demeaning position. I wonder who removed the fluffy pink cloth that used to conceal her pride..?

Live Nudes and Strip Shows

Exiting the main museum area, we find ourselves in a distinctly different area altogether. Here, a wooden stage rests with several old television units on top of it. The floor is littered with broken glass from a fallen display case that used to contain adult souvenirs. We also find a few old venting machines with posters of sexy ladies adorning the rusty metal. I wonder what 300 yen would buy you from these machines. Perhaps some erotic playing cards? We did find an empty box on the floor.

Signs of the live nude shows that used to take place here were everywhere. I was particularly taken by the coloured filter wheel hanging up around the back of the stage. Pinks, purples, reds… Definitely the sorts of colours you’d need to create an atmospheric performance. Lighting would have been key. After all, it’s as much about what you can’t see as what you can see. A carefully placed shadow can be expressly artistic!

It seems that live nude shows were performed at night, as well as in the neighbouring building (which is also a haikyo). It had a small stage for strippers and an entrance booth. Since these facilities are located in an onsen town, I should imagine the visitors used to come along in yukata (light bath robes) after a relaxing soak in the bath in order to take in the performances.

It seems the museum had a set of rules, or principles it aimed to work by. They were written on a heart-shaped board in the gift-shop area but, unfortunately, over the years the sign has degraded and rotted away, leaving only traces of the characters that were once inscribed upon it. I managed to track down an older picture of the sign though. Here were the museum rules, presumably for staff:

一.　一人の思考より
1. Think of others before yourself.

二.　不義理の心捨て
2. Get rid of dishonest thoughts.

三.　見つめる気持ち
3. Enjoy the feeling of just watching.

四.　善し悪し一つに総め
4. Unite the good and the bad.

五.　常つもスマイル感謝の心
5. Always greet with kindness and a smile.

In the August 1979 edition of ‘Graph Japan’ magazine is an article interviewing the owner and creator of the museum, Mr. Okano. He talks about a few things that inspired him to create the sex museum. He originally came across a book that introduced lots of unusual artefacts from around Japan and felt that a display of such items would benefit his town, in addition the strip clubs and nude shows already there. He then went off to Tokyo to begin purchasing items for the collection. Mr. Okano goes on to say that, at least at the time of the interview, about half of the guests to the museum were women. Often initially invited by their husband or boyfriend, they found the museum quite appealing. In contrast, many young people left disappointed thinking ‘it’s just a collection of old rocks’. We also learn that the wax models were created in Japan by a Japanese maker, although originally based on American versions. Apparently it took 5 people 5 months of running around to gather all the artefacts for display in the museum, including flying abroad to places like Taiwan and Korea!

We’re in the gift shop now, or the room that was originally used for the shop. Connected to it is a small kitchen and flight of stairs that lead up to a tiny office. It is full of newspapers and old magazines. Scraps and junk. Nothing much of interest that we can see immediately, except perhaps for the odd erotic picture and a nice poster back from when they opened the museum. A calendar on the office wall shows June 1988. According to other haikyoists, the museum closed in 1997. So why, then, does the calendar read 1988? And more importantly, why did the museum close at all? Is the owner still alive? What happened to the wax models..?

There are still many questions left unanswered in this mystery, and several important pieces of the museum gone. I hope we are able to unearth some more clues about the missing wax models and perhaps some information about what led to the sex museum’s demise. But what an amazing place it was! After reading the articles interviewing the owner and wandering around the place myself, I really did get a better understanding of his intentions to educate and liberate our sexual understanding.

As much as I have to admit that I enjoyed the haikyo adventure, I feel it’s a great shame that this museum, among with many others, have closed down. I truly hope that Japan is able to keep its few remaining sex museums open and retain these valuable cultural assets.

Until our next explore, then.

**********

Bonus reads:
Florian’s report of the exploration!
Loveland – My account of visiting a Korean Sex Park.

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Most people arriving in Japan will undoubtedly enter with an International Driver’s Permit, which is valid for one year from the date on the licence, or one year from your date of entry – the shorter of the two dates. Driving on an expired permit is illegal, and you could face big fines if caught doing so, even if you feign ignorance. In order to continue driving after the first year, you will be required to change your international permit to a Japanese driving licence. Similarly, you cannot drive in Japan at all if you enter without an international permit – you must first obtain a Japanese licence.

However, converting a foreign driver’s licence to a Japanese driver’s licence can be tricky. The process varies depending on the country from which you originally obtained a licence; people from certain countries like the U.K and France are (as of November 2011) exempt from having to take a test, while others from countries like America and Brazil are required to take one in order to drive here.

But what about those of us who never learned to drive in our home countries? Undoubtedly a much smaller and select group of people, but a harsh reality if you’re like me and never felt the need to get a driver’s licence while at university. Japan has many unique and beautiful spots that are inaccessible via public transport, and if you live outside of a major city, it can be incredibly inconvenient to get around. Also, what happens if your Japanese driver’s licence expires or is revoked? It turns out you’ll have to go through the same process as I did, getting your Japanese licence from scratch. Read on to learn all about the long and painful process…

Converting a Foreign Licence – an Overview

Most people arriving at this article will probably fall into this category. Fortunately, there’s already a good bit of information out there on the internet to help foreigners who are unfortunate enough to come from one of the countries needing to take a test in order to obtain a Japanese driver’s licence. First up, let’s separate the lucky from the unlucky (Source: Metropolitan Police Department):

No test required:

知識確認、技能確認を免除する国等（23か国・1地域）
アイスランド、アイルランド、イギリス、イタリア、オーストリア、オーストラリア、オランダ、カナダ、韓国、ギリシャ、スイス、スウェーデン、スペイン、チェコ、デンマーク、ドイツ、ニュージーランド、ノルウェー、フィンランド、フランス、ベルギー、ポルトガル、ルクセンブルク、台湾

Countries exempt from needing to take the written and practical driving test:
Iceland, Ireland, United Kingdom, Italy, Austria, Australia, Holland, Canada, Korea, Greece, Switzerland, Sweden, Spain, Czech Republic, Denmark, Germany, New Zealand, Norway, Finland, France, Belgium, Portugal, Luxembourg, Taiwan.

Written and practical test required:

Everyone else.

The Lucky

Those lucky people who hail from one of the countries in the above list can convert their foreign driver’s licence to a Japanese driver’s licence for a small fee and a bit of paperwork. Very little pain involved at all! All you need is:

1) A foreign dirver’s licence from one of the above countries.
2) Having held that licence while living in the country for over 3 months.
3) A translation of your foreign driver’s licence obtained from the Japan Automobile Federation (JAF) for 3000 yen.
4) Various other application paperwork and fees (about 5000 yen).

(Source: Japan Automobile Federation)

There’s a lot more information here for people who fall into this category. I needn’t go over it all again: Supermelf.com

The Unlucky

Those poor folk who come from a country not listed above will, unfortunately, have to take a written and practical driving test in order to prove they can drive safely on the roads of Japan. The process is as follows:

1) A foreign dirver’s licence not from one of the above countries.
2) Having held that licence while living in the country for over 3 months.
3) A translation of your foreign driver’s licence obtained from the Japan Automobile Federation (JAF) for 3000 yen.
4) Taking an aptitude test.
5) Taking a written test about the rules of the road.
6) Taking a practical test within the driving test centre.
7) Various other application paperwork and fees (about 5000 yen).

(Source: Japan Automobile Federation)

In some ways, it’s not quite as bad as it looks above. But in other ways, it’s lot worse…

The written test is usually just a set of 10 simple true or false questions with a pass mark of 7/10. You can even take it in English in many prefectures. The aptitude test generally only checks vision and colour blindness, but can also include hearing and physical fitness to drive. That’s the good news.

The bad news is that the practical test can be a nightmare for some people. Theoretically, a good driver even from one of the countries not listed above should be able to pass – you learned to drive safely, right? In practice, people will have various bad habits from having held a driver’s licence for a while already, and what constitutes ‘good’ driving on the road and in normal traffic is most certainly not what will get you through the practical test. Again, the Supermelf book has a decent summary (source):

The practical test is not so much a test of your driving ability as it is a test of your ability to navigate a set course in the proper manner. Sometimes the skills overlap, sometimes they do not. It tests your ability to control the car, whether it is going fast or slow. It tests your ability to navigate very narrow sections of road. It is a test to show that you are aware of any possible danger at any time, even if it is physically impossible. It is a test to show that you are patient and careful.

Opinions differ on which prefectures have harder tests, the cities or the inaka. Every prefecture will have different levels of strictness about different things. In the end, it usually depends on the proctor, so try to make a good impression. The practical test is taken on a private course. The giant course resembles one at a driving school or at a go-cart park. The turns tend to be marked with small signs indicating “B1″ or “D2″ or such so the proctor can be specific. You take the test in their vehicle, not your own. The vehicles are full-sized white-plate cars that used to be taxis, so if you are used to a narrow car, be especially cautious. If you drive a manual, you must take the test in a manual. Otherwise, you may take it in either.

There’s not a lot more I can add to that, but I can verify it from personal experience. In taking the practical test for my provisional licence, I had to drive around the test centre course, often with another person in the back of the car who was also taking the test. It is the same course that people converting their licence will have to navigate.

I was required to memorise all 3 possible routes in the test centre (I found out which route I would drive half an hour before the test). The examiner will be a member of the National Police Agency (all driving test centres are run by the police). They will sit on the left and check you on various skills, such as navigating an S-curve, a standing hill start and L-crank test. They will give feedback in Japanese (unless you are lucky enough to have someone who has the ability to and is willing to speak English). In my experience taking the test at the centre, the examiners were very strict, but fair.

Since I was learning manual, I also had to be reasonably good with the clutch. I failed instantly my first time in the S-curve for catching my wheel on the curb and falling slightly inside the grass area as I attempted to reverse. I failed my second time because the clutch rattled too much. I finally passed on my third attempt with a bare minimum score – 70 points out of 100. Of course, that was just stage 2 of my long journey learning to drive (see further below).

Again then, there’s already a lot of information documented for the unlucky people who fall into this category, including many, many opinions and tips from various people who have gone through the process of converting their licence. I needn’t go over it all again: Supermelf.com

The Real Deal – Learning to Drive in Japan

So finally we arrive at the undocumented section. As far as my research has determined, there is precious little information available in English on the internet for the foreigner learning to drive in Japan. What’s more, there’s even less information about learning to drive without attending a driving school. My aim was to do both – learn to drive, but avoid the extortionate fees associated with all driving schools in Japan. It was a long and laborious process, and certainly not cheap…

First up, let’s get the note about driving schools out of the way. More than 90% of Japanese people will attend one of the numerous driving schools littered throughout Japan in order to learn to drive. Attending a driving school is arguably a much better method than the one I chose, primarily because nearly all the fees associated with learning to drive are included in the base payment and the centre really is like a school – the instructors are friendly and are happy to keep working with you until you pass. Schools also offer different options, including evening sessions for those holding down a job and unable to attend in the daytime, and even short, intensive courses that involve you attending a boarding school and learning every day.

That said, most driving schools are over 300,000 yen. The Koyama Driving School, which seems to be one of the few that offer lessons in English offers a course priced at about 400,000 yen. After graduating from a registered school, you will still need to take the final written test (a small fee of a few thousand yen) at one of the prefectural driving centres run by the National Police Agency. After that, you have your Japanese diving licence!

Needless to say, the thought of paying in excess of 300,000 yen ($3,800 at the current exchange rate in November 2011) didn’t appeal to me. I decided to skip enrolling in a driving school and instead try what everyone said I couldn’t do – learn to drive without attending a driving school.

Learning to Drive Without Attending a Driving School

Let’s get a few things straight:

1) This is the process that worked for me. The fees paid and time taken could vary greatly depending on your individual situation, and most importantly your natural aptitude for driving. It also involved a fair degree of risk, both legally and in regards to safety.
2) Don’t be naive and think you can pass the tests without any driving practice. You are not a natural driver, and even if you have an aptitude for driving, many of the road rules and driving skills you need to demonstrate do not come down to common sense.
3) Don’t for a second think that you can get away with learning to drive for free. Or even ‘almost free’, as I originally fantasised. I had the help of many Japanese friends, including training outside of practice centres and it still cost me a huge chunk of change. Although it was still far cheaper than attending a driving school.

In order to get your full Japanese driver’s licence, you’ll have to follow a rigid process, passing each step before you can advance to the next. Each step comes with its own small fee to pay and will require that you take time off work on a weekday in order to complete it. Depending on how many other people are backlogged in the system, it may also mean you face weeks or even months of waiting between each step.

The Process

So here’s what you’ll be doing in order to get a Japanese driver’s licence from scratch. As I mentioned earlier in the article, this is the same process for people who have had their licence revoked or simply forgotten to renew an existing Japanese driver’s licence. Yes, you heard right. Forget to renew and you can kiss 6 months of driving goodbye and look forward to an expensive and infuriating set of tests, all taken at a test centre run by the National Police Agency. Lose your licence due to bad behaviour, and you will usually be banned for a year from driving before you can even begin the 6 month process to obtain a new licence.

1) Take the provisional written test at a test centre.
2) Take the provisional practical test on the test centre course.

Obtain provisional driver’s licence!

3) Practice on 5 separate days out on the road with someone who has a full driver’s licence.
4) Take the full theory test at a test centre.
5) Take the final practical test out on the road with a test centre examiner.
6) Attend a course in first aid and another final course in driving theory at a driving school.

Obtain full driver’s licence!

The Cost

Here’s a rough breakdown and approximation of the costs involved for me:

Lessons at the local practice centre: 77,000 yen (7000 yen x 11)
Train fees to the practice and test centres: 19,600 yen (980 yen return x 20)
Registration fee for the practice centre: 3,500 yen
Examination fees for the provisional written exam: 6,200 yen (3,100 yen x 2 attempts)
Examination fees for the provisional practical exam: 11,150 yen (1,650 yen first attempt x 1; 4,750 yen extra attempts x 2)
Issuance of provisional licence: 1,200 yen
Examination fee for the final written exam: 2,400 yen
Examination fee for the final practical exam: 18,000 yen (1,000 yen first attempt x 1; 3,400 yen extra attempts x 5)
4hr classroom and practical training fee after passing: 9,800 yen
3hr first aid training after passing: 3,600 yen
Issuance of full licence: 2,100 yen
Lunch fees / petrol costs when driving with friends: 3000 yen (they were extremely generous and wouldn’t let me pay most of the time)

Total: 157,550 yen

(You might also include treating friends to an all-you-can-drink party after passing: 20,000 yen)

To compare:

Cost of attending local school: 344,210 yen
Final written exam fee: 2,400 yen
Issuance of full licence: 2,100 yen
Total: 348,710 yen

Money saved: 191,160 yen

(Source). (Source). (Source).

The Provisional Written Test

The first step, naturally, is to pass the provisional theory exam, taken at one of the designated test centres run by the National Police Agency. At my test centre in Aichi prefecture, written tests were only held on Monday, Tuesday and Thursday mornings. I had to pay a small fee each time I attempted the test.

I decided to take the test in Japanese, part through the desire to test my ability, and part through hearing that the English translation is a bit dodgy (although I cannot confirm that). I borrowed old textbooks from Japanese friends who had attended a driving school and spent the best part of a few weeks studying in Japanese. As far as I was aware at the time, there weren’t any commercially available textbooks written in English for those learning to drive from scratch. Sod’s Law then, that I discovered English versions of the main textbooks (about 3000 yen per book) are available to buy from driving schools. You’ll need to look for the textbooks entitled “The Master Of Your Driving” by Chubu Nippon Driver School. Probably best to go to the largest school in the area.

There is also a paper-thin summary of the full textbook available from the JAF centres which you can purchase for 1000 yen. This is intended for students who are converting their licence to a Japanese one and need to learn the basic road signs and laws. It does not include anywhere near the level of detail of the full textbook, as I found out to much my disappointment. As such, it is pretty much impossible to pass the test by studying from this little book alone. Seek out the English versions of the main textbooks – they do exist, although I have not been able to find them in bookstores or online.

The provisional test itself is available in English in several of the major prefectures. I passed my provisional theory test in Japanese on the second attempt. It involves 50 questions to be taken in 30 minutes. You need more than 45 correct in order to pass. The test was fairly simple, without many trick questions, but did check important signs and driving knowledge, so it’s advisable to study well before attempting it. Note well: The test is not the same as the incredibly easy 10-question test that foreigners converting a licence have to take.

The Provisional Practical Test

After passing the written test, the student then books a date to take the practical test in order to gain their provisional driver’s licence. This was by far the hardest and most frustrating part of the whole experience for me. Or at least, it was until I graduated to doing the final road test…

I had naively been thinking that I could simply take the test over and over again, improving slowly but eventually passing. The costs weren’t that prohibitive (4,750 yen per attempt), and crucially, each attempt cost less than using the nearby practice centre.

What I didn’t factor into my thinking however, was the waiting between attempts. Surely it’ll just be a week or so? I thought. Not a problem. It turned out that there was a huge backlog of people trying to get their provisional licence. They consisted of mostly Brazilians (Aichi has an extremely large population of Japanese Brazilians, and Brazilians who have come to work, usually in the large automobile factories), a few older Japanese people who had lost their licence for one reason or another, and me.

As I noted before, over 90% of Japanese people attend a driving school rather than taking the tests directly, so it makes perfect sense that most people trying to get their licence at the test centres will be either foreigners, cheapskates or bad/lazy drivers. Talking to the staff at the nearby practice centre, they said they also teach a lot of Brazilians but that, unfortunately, they don’t practice nearly enough. Some of them were approaching their 10th attempt on the provisional practical exam…

Because of the large amount of people stuck in the system not getting their provisional licence, generally I had to wait about 3 weeks between my attempts at the practical exam. There was no way I could stick to my original strategy of taking the test over and over again until I passed. It was begrudgingly that I registered at the nearby practice centre to get some extra time driving and speed up the process. At 7,000 yen for 50 minutes, it was very expensive. But it was on the exact same course and in the exact same cars used for the exam. There wasn’t a better way to perfect the course in preparation for the practical exam.

Up until then, I had been practising in car parks with the help of friends. A little time driving a manual light truck, and time practising basic driving skills in a small automatic car. This was a risky thing to be doing – driving in car parks is still driving in a public space. Although realistically no police are going to be checking or coming down hard on people for driving around a (nearly empty) car park, I was on the wrong side of the law. A friend of mine had told me a story of an international friend of hers had driven just 100m or so down a countryside road, had been caught by the police and severely punished for driving without a licence. I made sure my Japanese friends knew the risks before helping me out in car parks though, and some of them were happy to do so. That said, anyone attempting it should do so at their own risk – I in no way advocate it!

So, with my 10 or so hours of experience in car parks, I figured taking the provisional practical test would be okay. I was prepared to fail a few times and finally pass. Once I had my provisional licence, I figured, I could practice legally to my heart’s content on the road with friends. Until then, practice outside the centre was a risky business…

My first time using the practice centre revealed to me the extent of my inexperience. Several stalls, catching the curb, improper use of the clutch, unable to reach 40km/h on the straight stretch of road, unable to do a hill start with confidence. The list goes on. Even after 10 or so hours practice outside schools, it was clear a couple of paid practice sessions weren’t going to be enough to get me up to speed. That said, I did improve a lot after the first few tries, and by my 4th practice session I was navigating the course without making any serious mistakes.

I failed on my first attempt at passing the practical test. I caught the front wheel turning into the S-curve, riding up on the curb. This would not be a fail in itself, but as I shifted into reverse, my wheel slipped down into the out-of-bounds grassy area. I managed to get out and complete the S-curve, but the examiner told me to return to the start. They didn’t even let me finish the course for practice. Instant fail.

The second attempt was better. I successfully completed the course without mistakes in the L-crank or S-curve. I did a fairly good hill start and didn’t miss indicating anywhere. But my performance was deemed to be unsatisfactory. I needed to drive further left when turning left corners, shift up to 3rd and 4th gear more often rather than staying in 2nd, rest my foot on the floor when not using the clutch and most of all, I needed to get used to the feel of the clutch. My examiner said that there was far too much rattling caused by being in the wrong gear, or not shifting between gears smoothly enough. The difficulties of driving manual cars were apparent…

After a few more practice sessions, I had my third try. This time I did the course with almost no rattling clutch and successfully shifted up and down when needed. Even though I finished without any serious mistakes, my examiner was still very critical, and pointed out that I seemed extremely nervous. As I left the car to wait for my results, she called me back to remind me to take my belongings with me, still sitting in the back of the car. Crap.

But I managed to pass, finally. 70 points out of 100 – the bare minimum for passing the provisional practical test. But a pass was a pass! I could finally get some decent training in without paying the crazy fees at the practice centre!

Road Training

After being issued my new paper licence with a 6-month limit, the member of staff at the centre explained to me the next step. I needed to go out on the road at least 5 times with someone who had held a full driver’s licence for over 3 years. Of course, the car needed to be manual too.

Another conundrum. Nearly every car on the road in Japan is automatic. Everybody drives automatic, except a few select people with a passion for manual cars, or those who drive specialist vehicles, such as light trucks for transporting goods. This meant that I would have a tough time trying to find a friend who owned a manual car, let alone let me drive it. I phoned several rental companies and none had manual cars to rent – the closest they had was a light truck. Quite a different feeling to the regular 1400cc manual car used at the test centre. It wouldn’t be great for practising in. Plus, it would require the person with me to hold a manual licence in order to rent it. Many of my friends were only qualified to drive automatic cars…

But I found my saviour. It was none other than my section boss! He had recently bought a lightweight 660cc manual car – even at the resistance of his family – because he enjoyed driving using a clutch. He was also willing to let me drive it and sign off my form so I could take the next stage of the driving test. Great!

Oddly enough, in order to take the final written exam, the student must first have their mentor complete the form stating they have driven on the road on 5 different days. I have no idea why this had to be in place before taking the written test, but I saw it as another thing dragging out an already long process. I would eventually practice on more than 5 different days in preparation for my final practical exam, but the written exam was a 90-question mammoth of a test, and I wasn’t confident I could pass it first time. Also, there was little chance my boss could take me out on 5 consecutive days to practice. We decided to fill in the form in advance of our practice sessions – something which I had asked one of the police officers about at the test centre on a prior occasion. The officer had said, with a small nod, that of course they hardly ever check to make sure the practice has been done in advance…

The Final Written Test

So it was that I marched back into the test centre a week later with my completed road training form and applied to take the final written exam. There would be plenty of time for more road practice, even after I passed my written exam.

The final theory test was very tough. Again, a true or false format, it consisted of 90 1-point questions and 5 questions worth 2 points, to be taken in 50 minutes. The 5 questions each had three parts. Each one included an illustration of a situation on the road, and the student must answer all 3 parts per question to be awarded the full 2 marks. Getting one part wrong means you get the entire question wrong. This means that there are 105 boxes to check on the whole paper to total 100 marks. The passmark is 90/100.

In my preparation for the written exams, I found what turned out to be an incredibly useful website. It’s a huge site with hundreds of mock questions and categories for each level of the written test that lets you practice for free! There is a paid section required if you use the site too much in one day, but I never hit the limit. The format generally consists of a set of questions and a time limit to answer them in. After submitting your answers, it marks them and provides beautifully detailed explanations about every aspect of each question, including additional information related to the question and questions submitted by other Japanese users. Here’s the site:

Safety Driver

It’s no exaggeration to say that this website is the main reason I was able to pass the written tests. Without the frustrating experience of learning how the questions try to trick you, and refreshing specific numbers and situations in my head over and over again, I would have undoubtedly failed several times. You get a feel for how the questions are structured, the tiny differences in the language used and a feel for how quickly you need to be reading and answering. Like the provisional written test, the final exam is also available in English in some prefectures, but I have no idea of the quality of the translation. Because of the complex nature of the questions and amount of trick situations, I have doubts as to whether the English translation will adequately capture the right nuances in language that enable the student to determine whether a question is right or wrong. And of course, there is no English website with example questions to practice from, meaning you’ll have a tougher time learning the trick questions if you’re studying in English.

Again then, I opted to take the test in Japanese. It made the most sense, since all the expressions I had been studying were in Japanese, and all the trick questions I had memorised were in Japanese. I managed to finish the test just within the 50 minutes, but had no time to go back over the answers to questions I was less-than sure about.

It felt long and I was quite tired after finishing it. 10 questions per page, each with 2-3 lines of Japanese text for the question. Some questions were as long as 5 lines with some frustratingly complex situations I had to re-read in order to visualise. But I managed it on my first try, scraping in with 91/100. Hell yeah!

The Final Practical Test

I booked in my final practical test the same day as passing the written test. It would consist of 2 sections: the first, a road test that would require me to memorise 6 possible routes and drive one on the day, and the second, a brief reverse parking test on the test course itself. With a few weeks to go, I padded out my schedule with various driving sessions with my boss and other friends on the road. We would on occasion head to the test site itself to drive the same route used in the final exam. It was no easy feat with the crappy black and white map they provided me with, and especially so because practice was mostly limited to night-time sessions…

I also decided to go back in for a couple more daylight driving sessions at the practice centre. This would prove important for learning the course, as well as getting a feel for using the 1400cc normal taxi-style car on the road. Quite a different feeling to the 660cc light car my boss drove. I slowly began to iron out my right turns and get a better idea of when to indicate (at the time I was doing so far, far too early).

Finally then, the test day rolled around…

I arrived well on time, even taking a stroll through a nearby shrine and chatting with a guide about the history of the place before reaching the test centre. After signing in, I was told the course I would be driving that day – D course – and also the parking course I would need to complete – A course. I was the only person opting to take manual on the day, and a couple of other Brazilian girls were to take the automatic test. Since they couldn’t do both at the same time, the examiner asked me to wait outside at the test centre until they returned.

“Out here?” I asked. “In the cold?”

“It isn’t that cold though, right?” He replied.

70 minutes later, another examiner became free and took me for my test. Slapping my numb hands from the cold, I turned the key in the ignition.

I’d practised D course before, albeit less than the other courses, but it wasn’t a particularly difficult route. The examiner also told me that if I wasn’t sure of the turns, I could confirm them while driving. This made me feel a little better about the situation, and I set off comfortably.

It wasn’t long though before things went horribly wrong. Travelling just inside the 40k/h speed limit down a stretch of road, suddenly an old man tottered out from behind a corner and stood waiting to walk at the pedestrian crossing. There were no lights for this crossing, which meant that I was obligated to stop. Although I knew this at the time, given the speed I was going and small distance between me and the crossing, I figured it would be safer to pass rather than break suddenly. Of course, that immediately pretty much failed me. What if said old man decided to run out in front of me? But equally, I thought, what if breaking suddenly was also seen as unsafe?

I guess the lesson learnt is to drive more slowly, even though we’d been told driving too slowly would also lose us points. Sigh.

The major point I failed on though was failing to notice an oncoming car when making a right turn a short while afterwards. This I can only acknowledge and hang my head for. My attention was making sure no pedestrians were crossing on the other side of the road before turning, and I didn’t double check the oncoming traffic before turning. It was a lesson well learnt, but an instant fail as the instructor had to break the car.

Roll on attempt two.

It was around the time of my second attempt in November that I wrote up the majority of this post, thinking that I would pass on my next couple of tries. As I had learnt from the provisional licence practical test however, the test centre was prone to getting backlogged, meaning I ended up waiting several weeks between each attempt. Tests 2 and 3 went by with fails. I was irritated, but resigned. On one occasion, a Japanese guy who had been driving for 7 years also failed with me, so I was quite sure it wasn’t any form of discrimination that was causing me to fail. I guess I just needed more practice.

And so I did. Imploring my boss to let me use his car on weekday nights to drive around the city, and on some occasions all the way to the test centre so I could practice the actual routes used in the exam. I couldn’t have asked for a more patient mentor and friend, and I am especially indebted to him for continuing to let me use his car even after I managed to scrape the bottom of it on a curb. It was horrifically embarrassing at the time, but fortunately no damage was done.

January came and so did my next attempts. Each time I felt like I was driving well, but I would always slip up on something. One time I hesitated upon seeing a large truck stopped in the road flashing its hazard lamps. The instructor told me to cross over the centre line and pass it if I could, which I was able to do without a problem, but the hesitation (among other small things) was a big minus. On a different occasion I followed the car in front, crossing over the zebra lines restricting right turns. In normal traffic, this would be perfectly acceptable, but because it was an exam, it was a very bad move and I was penalised heavily for it. Sigh.

On my 5th attempt, I was fairly confident and everything was going well until I almost missed a turn on the set course, causing the instructor to tell me off and become irritated. After that I managed to stall the car at the level crossing (a first for me in many months) and to compound matters, I pressed the wrong button to close the window afterwards, resulting in a situation that looked like I was panicking because windows were opening and closing all around the car. Needless to say, it was a fail, but I put it down to mostly bad luck. There were also other small things, such as not hugging the left line enough when making left turns, which they kept nagging me about. All good practice though, as I kept saying to console myself. I was getting extremely worried however, that my provisional licence would expire before I could pass the test. It’s only valid for 6 months (mine until April), and with several weeks between sessions, there was a very real danger that I might only get another 2 or 3 tries before time ran out. And if time ran out – guess what – you start everything again, from scratch. No. Failing again was not an option at all.

Finally on my 6th attempt I was able to pass. It was early February at this time, and I cursed my luck because I got given course C – the one course I had gotten completely lost on when practising at night months before. I had an hour before the exam itself, so I walked the 2 kilometres towards the course in order to see parts of the road. I contemplated ‘borrowing’ a bicycle temporarily, but no such opportunities presented themselves, so I had to time myself carefully walking there and back so as not to be late. Fortunately though, my preparation in checking some of the road beforehand helped, and I sailed through the exam without any mistakes. I was fairly sure that I had passed this time, because the instructor basically only commented on one small thing (my gripping the handle too tightly on turns) and also asked me if I had felt nervous. Funnily enough, I also got asked if I was nervous the time I passed the provisional exam. Perhaps this is an indication..?

But, it was finally over. I got my provisional licence stamped with completion on 9th February. One older Japanese instructor patted me on the back, grinning behind his surgical mask used to prevent colds:

“It took you a while, eh?” he said.

“Just a little while” I smiled. “Thank you again for your help”.

The guy at the reception desk motioned me over and explained to me how to go about completing the course. That’s right – while the worst was indeed over, I still wasn’t getting my licence that easily!

Training Sessions & Finishing Up

In order to actually get my licence issued, I still needed to go and complete two training courses at a driving school. These courses are mandatory and consist of one 4-hour session called ‘shutoku-ji koshu’ (取得時講習) and one 3-hour session called ‘okyu kyugo sochi koshu’ (応急救護措置講習). The 4-hour training is a final check of your driving. You go out on the road with an instructor at the driving school and they record your driving. Afterwards, you look at it together and talk about the points you missed or need to improve. You also watch a DVD about driving on the motorway before going out to do a test drive on the motorway itself. The 3-hour training is first aid training – basic CPR and emergency response. Nothing too difficult in either course, and the atmosphere is a lot more friendly and laid back than at the test centres run by the National Police Agency. I was told you cannot fail these training sessions, although I suppose if you drove dangerously they could deny you the certificate showing you had completed the training.

In order to book these sessions, I had to telephone driving schools and ask when they were offering the training. I shouldn’t have been surprised, but it turns out I was in for another long wait. The earliest many schools had was April and some didn’t offer the training until May – another 2 month’s wait! I ended up telephoning over 50 different schools asking in Japanese about the training. The earliest school I could find offering the training about early March – 3 weeks away – but only on 2 separate days. 2 more days I needed to take off work in order to attend the classes… It would have to do. I booked the sessions and went down to my city hall in order to buy monetary stamps ready to pay for the course (regular cash was not acceptable).

I received certificates of completion after attending both training sessions. They were surprisingly fun to go to, actually. Full of young Japanese teenagers and friendly staff buzzing around. It really was like being back at school, right down to a lunch lady selling bento and snacks, and the school bell chiming between sessions. Students carried around textbooks and folders full of progress sheets and red stamps marking their completion. I even made a friend on the 2 days I had my training and it got me to asking myself – was the pain I had gone through to save money really worth it?

I’d saved about 200,000 yen – around 2/3 of the actual cost it would be to attend a school. But getting a driver’s licence by attending a school could be done in the evenings without having to take much time off work, with friendly instructors and in a safe environment. I would get to know other students and we would go through the trials together. I did ask how long students usually take to complete the driving course at a school too. Apparently it’s several months, so not a great deal shorter than it took me to complete it myself, which was 7 months. I guess it really comes down to what you value more in this situation – time or money. Given the choice again, I would still have chosen to save the money, because I learnt a lot following this indirect process and had to overcome a lot of hardships that have definitely shaped me as a person and pushed my Japanese skills. But after it all, I just don’t think I can recommend the same approach to other foreigners wanting to learn to drive in Japan. Just pay the money and attend a school. It’s far, far too much trouble to go through the indirect approach as I did, unless you particularly like challenges!

As the final step in the whole process, I had to take my certificates of completion back to the test centre, along with my personal seal (inkan) and pay 2100 yen to get my licence issued. As usual, this had to be done on a weekday morning. I got up, had a shower, popped my contact lenses in and headed out on the train for one last time to the test centre. One of the female police officers there recognised me and offered her congratulations on finally passing as I processed the paperwork. Most of the staff there seemed to know me by that point… A group of 5 or 6 of us were then led upstairs to have our photograph taken, and then our licences were created. At impeccable speed too, I might add, considering how darn long the whole process had taken thus far!

I walked outside to feel the warm spring air, clutching the new licence in my hand. It had a lime green stripe, signalling to the world that I was a new driver. Penalties are particularly strict in the first year after getting the driver’s licence, and by law I must put beginner’s marks on the car when I drive. I thought back to one year earlier: It had been February 2011 when I first started seriously thinking about getting my licence. I practised a few times with friends, but never got seriously underway until August when I passed the provisional theory test. Here I was, 7 months later on the 8th March, finally just happy to be done with the whole thing. It turned out to be a bloody expensive piece of paper to get!

But, I suppose the real lessons I learned from repeatedly failing and the knowledge I gained from the intensive Japanese study are worth much more. Plus, having experienced this painful process, I am now absolutely resolute in that I will not let anything come between me and my Japanese driver’s licence! This is the exact process you must go through to get back a licence that has been revoked due to too many points or illegal activity. It’s also the same process you must go through if you forget to simply renew your licence before it expires after several years, as one poor Japanese guy was telling me as he took his test… It’s blindingly clear to me now – never, ever lose the Japanese driver’s licence. Ever!

And on that note, there’s just one thing left to do now – take my friends out for drinks to celebrate! :D

Special Mentions

Ota-hancho, my boss, for his tireless efforts driving me back and forth to the test site when practising for my final practical exam. Also for having courage to let me take his light 660cc manual car that was only a few months old out on the road. Without it I would not have been able to practice using the clutch, which was crucial in saving me money from having to attend the practice centre. (Nearly all cars used by normal people in Japan are automatic, save for light trucks).

Fukada-san, a colleague who I attend badminton with. He let me practice driving his large automatic car in car parks and on the road after getting my provisional licence.

Kurahashi-san, for letting me drive his light manual truck in car parks during the early stages, including taking me to a countryside road to practice hill starts using the clutch.

Koumei, for lending me his old (annotated) textbook and letting me practice in his small automatic car in car parks during the early stages.

Manami, for lending me her pristine textbooks and warning me how tough the process of learning to drive was.

Mayumi, for constant support and studying with me while I was preparing to take the written exams.

And a huge thanks to everyone else who helped and chatted with me along the way, including all the awesome people who supported me on Google + and Twitter :).

There isn’t a great deal to tell about this particular structure that isn’t readily documented elsewhere, hence why the exploration pictures have sat on my hard drive for many months. But one of my photos was recently chosen as the cover shot for Tokyo’s Metropolis magazine highlighting a haikyo article that I’m interviewed in, so it felt like a good opportunity to share this miniature exploration and the accompanying history with you all.

The place is also a famous online meme thanks in part to my haikyo buddy Abandoned Kansai. It became popular in April 2011 after a Reddit posting from a user suggesting that the structure would make a good fortress in the event of a zombie outbreak. The shaft tower was also replicated in the popular game Minecraft.

But what was this curious structure actually used for? The title might give you a little hint with the name ‘winding tower’. Apparently this vertical structure, standing at a respectable 47.65m above current ground level, used a winding mechanism to bring up coal from the 430m deep shaft below. The former Shime coal mine shaft tower, as it is officially known, is made of reinforced concrete (similar to that of the structures on Gunkanjima) and became a designated important cultural property on 8th December 2009.

The structure stands as a part of the Shime coal mine that operated from 1889 to 1964, with the shaft tower itself being used to extract coal between 1943-1945. With the newfound status as ‘important cultural property’, it has been cleaned up a bit and is now decoratively lit up at night. I personally preferred the green and grey collage of the old, but I’m pleased to see the structure being preserved.

Interestingly, apparently the iron and steel used in the reinforced concrete construction is from the U.K and the tower and related structures had a value of 2,000,000 yen in currency at the time. The tower itself is actually measured at 53.6m x 15.3m x 12.25m, although not from ground level.

There are only 3 structures of this type left in the world today, with the other two being in China and Belgium. It’s certainly one of the more striking haikyo you’re likely to come across anywhere. Although there was very little original exploration or infiltration needed on this trip, it’s a worthwhile sight and does well to remind us that ruins do not have to be abandoned in order to be appreciated. Perhaps next time I’ll get chance to see the grisly concrete giant illuminated at night :).

As for it being your zombie fortress in times of need? Well, I suppose that cavernous 430m pit below could be useful to dispose of corpses, should you be able to open it up. The place does look rather draughty for spending a prolonged period of time in though. It’s your call!

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