Directory – 2017 Professional Cameras
Our comprehensive listing of professional-level cameras covers D-SLRs, mirrorless, rangefinder models, digital capture backs and complete digital medium format camera systems. The mirrorless advance continues – now into digital medium format, of course – but the D-SLR actually still remains strong at the pro end of the market. If you’re ready to buy a new camera, reflex or mirrorless then this directory will help you compare and contrast what is available on the market.
The OM-D E-M1 Mark II takes all this a lot further and Lachlan says that he’s particularly impressed with the image quality from the new sensor.
“The images are so clean – that’s the best way to describe it, I think –and the tonal latitude is really well-balanced. It’s also very quick with 18 fps continuous shooting – or even 60 fps with fixed AF/ AE which is just amazing. The autofocusing is consistent, reliable and fast, and I love the ergonomics of the new body. Personally, I have always preferred shooting with a battery grip and the new combination is comfortably balanced, especially with the new 25mm f1.2 PRO lens. The EVF has also been stepped up a gear which is really noticeable… being able to see exactly what you’ll get is really pleasing. Also the file writing speed is mind-blowing and, coupled with the fast sequential shooting, is a real winner for me.”
The new camera’s up-graded five-axis image stabilisation also gets a big tick from Lachlan Moore.
“Being able to hand-hold with longer exposures allows me to bring the ISO right down and minimise noise, thus creating better workable files. I find this incredibly useful when shooting on film sets where I really put these cameras through their paces. The silent electronic shutter is also a major advantage in these situations.”
Olympus made significant inroads into the professional video industry with the previous OM-D E-M1 model, and the new camera is even more cinematography-orientated.
Lachlan’s collaborating partner, Michael Hurren at Filmic Productions, has been trying out the OM-D E-M1 Mark II’s video capabilities and he comments
“I really like the Flat ‘Picture Mode’… it’s not too flat so it doesn’t stretch the 8-bit file too far in the highlights or the shadows. I haven’t seen banding anywhere. I think this is a smart move. The high Cinema 4K bit-rate of 237 Mb/ second is a real pleasure to grade. And again, it’s awesome for an 8-bit file as there’s a ton of information to work with.
“Being able to shoot fast motion in the same codec, bit-rate and resolution as normal motion film – especially in Cinema 4K – is a truly awesome feature.”
Lachlan adds, “I’ve definitely noticed improvements in the stabiliser when shooting video… a lot less bumps on long moves. And it seems to also deliver more stability when using non-OM-D lenses with the focal length dialled in”.
On the subject lenses Lachlan Moore has been using the new M.Zuiko Digital 25mm f1.2 PRO fast prime lens (equivalent to a 50mm f1.2) and he’s a big fan.
“Yes, it’s my new go-to lens! It has a great feel and the build quality is really solid. It’s also incredibly sharp and the speed is, of course, fantastic. Best of all, the image quality and the fall-off are really beautiful.”
While he’s yet to explore everything the new OM-D E-M1 Mark II has to offer – there’s a truly extensive list of advanced features – Lachlan Moore is very impressed with what he’s seen so far, including the improved battery life and the faster shutter speeds of 1/8000 second with the focal plane type, and 1/32,000 second with the electronic sensor-based shutter.
“There are so many features to be excited about, and I think it’s going to make a big impact on the Micro Four Thirds scene. I know from first-hand experience that Olympus has listened to its Visionaries and acted upon their ideas and feedback to make this camera an exceptional one.”
The EVF has also been stepped up a gear which is really noticeable… being able to see exactly what you’ll get is really pleasing.”
All photographs by Lachlan Moore on Olympus OM-D E-M1 Mark II, copyright 2017.