Olympus OM-D E-M1 at a glance:
- 16.3-million-pixel, micro four thirds Live MOS sensor
- ISO 100-25,600
- Dual Fast AF: phase-detection and contrast-detection autofocus
- Five-axis image stabilisation
- Weatherproof, magnesium-alloy body
- 1/8000sec maximum shutter speed
- Built-in Wi-Fi
- 2.36-million-dot EVF
- 3in, 1.037-million-dot tilting LCD screen
- Street price around £1,299 body only
- See sample images taken with the Olympus OM-D E-M1
Olympus OM-D E-M1 review – Introduction
The Olympus OM-D E-M5 caused quite a stir when it was unveiled to the public last year. Looking like a digital version of the classic 1970s Olympus OM SLR – with the modern conveniences of a smaller body, LCD screen and electronic viewfinder – the OM-D E-M5 marked a sharp turn in direction from the small rangefinder-style Pen series of compact system cameras the company had so far been producing.
While the E-M5 was praised by photographers and journalists alike, many Olympus DSLR users felt abandoned, with the E series looking more and more like a lost cause as the company concentrated its efforts on its micro four thirds system.
It has now been more than three years since the release of the E-5 DSLR, a camera that, even on its release, fell short of what some enthusiast photographers had expected of a premium DSLR, so its successor was long overdue.
Rumours of a new E-series DSLR, or at least a new camera that would be able to utilise the comprehensive line-up of four thirds lenses, began to surface, with much speculation as to what form the new camera might take. Many thought Olympus would opt for a pellicle mirror, much like Sony has in its SLT cameras, while others thought it would be mirrorless, like the Pentax K-01.
In fact, the E-5 replacement that has emerged is the micro four thirds-format Olympus OM-D E-M1. Those wanting to use their E-series four thirds lenses on this new camera must employ an Olympus MMF-3 four thirds to micro four thirds mount adapter. In the past, four thirds lenses have been sluggish to focus when used with this adapter on a micro four thirds camera, but Olympus claims that it has designed the E-M1 so that it meets the demands of E-system DSLR users.
The E-M1 is a substantial camera, larger even than the E-M5, and with a built-in handgrip to make it more comfortable to hold when using heavy lenses. The sensor features phase-detection AF for fast focusing and, of course, the body is strong and sturdy, which was one of the hallmarks of the top-end E-series DSLRs.
The Olympus OM-D E-M1 certainly looks the part, but it needs to go further than this – it must be a CSC that is fit to replace an E-series DSLR, and that’s a different task.
Olympus OM-D E-M1 review – Features
It is difficult to know exactly where to start when talking about the Olympus OM-D E-M1. The camera is crammed full of features and settings that photographers can use to customise the way the camera operates and how its images look.
At its core is a 16-million-pixel, micro four thirds Live MOS sensor. Olympus has made no secret of the fact that the sensor is manufactured by Sony, whereas its previous micro four thirds sensors were produced by Panasonic, the other micro four thirds camera manufacturer. Although the older OM-D E-M5 also uses a 16-million-pixel Live MOS sensor, the sensors are quite different. The key change is that the new sensor in the E-M1 features phase-detection autofocus, but only when used with four thirds lenses. This new sensor, combined with improved image processing, is proudly claimed by Olympus to produce the best images yet from any of its digital cameras.
Reinforcing the E-M1’s credentials as a true replacement for a DSLR are some impressive specifications, including a sensitivity range of ISO 100-25,600, a maximum shutter speed of 1/8000sec and continuous shooting, with AF, at a speed of up to 5.5fps. With five-axis image stabilisation built into the camera, all lenses are stabilised when used on the E-M1, regardless of their brand. Four thirds lenses, and even vintage, manual-focus optics, can also take advantage of the excellent stabilisation.
Built-in Wi-Fi connectivity allows remote shooting and viewing with the Olympus OM-D E-M1, via a smartphone or tablet. Even better, the live bulb mode – which is a bulb mode but with an updated preview of the current exposure shown live on the rear screen – can also be used via Wi-Fi. As winter approaches, the idea of shooting a long-exposure, night-time scene using the live preview while sitting in the warmth of a car, is certainly appealing.
Olympus OM-D E-M1 review – Using four thirds lenses
As the new Olympus OM-D E-M1 is the successor to the Olympus E-5 DSLR, many photographers will want to know exactly how their four thirds lenses will work with the MMF-3 four thirds to micro four thirds mount adapter.
In the past, using the four thirds to micro four thirds mount adapter on micro four thirds cameras has produced rather mixed results. While some fixed-focal-length, large-aperture lenses focused almost as quickly as their micro four thirds counterparts, zoom lenses tended to be very slow and jittery, making them useful only as a last resort.
Of course, the E-M1 features a new sensor that provides phase-detection AF when using a four thirds lens via the adapter. If the E-M1 is to be taken seriously as a successor to the E-5, then the performance of four thirds lenses should be as fast as when using micro four thirds lenses.
I tested the E-M1 with a variety of four thirds lenses using the MMF-3 adapter, most notably the Zuiko Digital 12-60mm f/2.8-4 SWD ED – a lens that many E-system users have. In use, it is a little slower than a dedicated micro four thirds lens, and it was certainly louder and more jittery, but it was usable and did find focus.
When shooting subjects a few metres away, the AF of the 12-60mm lens is actually snappy, and for most images I don’t think any E-system users will complain – especially as the ageing E-series DSLRs aren’t known for their lightning-fast AF.
It is when switching from focusing on a distant object to one in the foreground that the AF tends to become a little less smooth. However, it is not actually that slow, but rather gives the impression that it is, due to the noise coming from the AF as it operates and because you can feel it working when holding the camera.
What really separates contrast-detection from phase-detection AF is the speed of continuous AF. In the majority of CSCs that rely solely on contrast-detection AF, continuous AF can be very hit and miss. With the on-sensor phase-detection system, the continuous AF speed is excellent and usable for moderately fast moving subjects.
As an example, I used the Zuiko 50-200mm f/2.8-3.5 ED SWD four thirds lens with the MMF-3 adapter to shoot horses galloping. I found that the AF kept up admirably with the subject, bar the occasional shot (perhaps around one in six), where the AF was a little behind the camera’s 5.5fps shooting rate. Indeed, the shooting rate may have actually been more the cause of the slight miss of the continuous AF than the AF itself.
With the four thirds sensor already popular among wildlife photographers for its effective 2x lens magnification, the speed of the phase-detection continuous AF should only boost that popularity.
Olympus OM-D E-M1 review – Build and handling
‘Rugged’ is probably the best word to describe the build of the Olympus OM-D E-M1. Its magnesium-alloy body is weather-sealed, and it is splashproof, dustproof and freezeproof down to -14°F – again, perfect for the change in seasons. The quality of its body makes the E-M1 one of the most professional digital CSCs we have seen to date.
The new E-M1 builds upon the existing E-M5, which was released over a year ago, and Olympus has clearly listened to customer feedback. The buttons on the rear of the new camera are smooth and rounded, unlike the functional, clunky buttons of the E-M5. The mode dial now locks into position, which prevents it being accidentally knocked to a different mode, and there have been some new buttons added.
On the rear of the camera is a two-way switch that changes the function of the two dials on the camera’s top-plate. By default these are set to change the aperture/shutter speed and exposure compensation. Flicking the switch to its second position sets the ISO to one dial and white balance to the other, although the function can be tailored to an individual’s needs in the custom menu.
Also on the camera’s top-plate are two buttons with dual purposes – one for AF/metering, and the other for shooting mode/HDR. This set-up means that you can change any of these settings while shooting, with just a quick turn of your thumb or forefinger. The ergonomic button array allows you to easily change the most used exposure and shooting settings, but by combining buttons and giving them multiple functions it maximises the space used on the camera.
Make no mistake, despite being large (as far as compact system cameras go), the E-M1 is still far smaller than a DSLR and equivalent lens, and weighs a lot less too. However, by adding the relatively large grip (originally an accessory for the OM-D E-M5), the camera can be used comfortably with larger lenses – which will be essential for any Olympus E-system DSLR users upgrading to the E-M1.
With so many buttons and controls, it is easy to forget that the E-M1 also has a touchscreen. I rarely used it, though, as it was just as quick to change settings using the buttons and dials. However, for selecting an area of focus, the touchscreen is far faster than using the buttons.
If I have one complaint about the camera’s handling, it is that it can be a bit daunting to set up and use for the first time. There are many different customisation options, particularly when it comes to all the different image styles and options for changing the colour and contrast – but more on this later.
Olympus OM-D E-M1 review – Metering
Overall, the 324-zone multi-pattern evaluative metering system works well, producing bright exposures that tend to maintain highlight detail as much as possible. Exposure compensation is easy to apply via the camera’s control dials, and spot and centreweighted metering are also available. Even more useful is the highlight and shadow spot metering that has long been a feature of Olympus cameras.
Highlight metering is more useful than shadow metering. By using highlight spot metering and pointing at a part of the scene that you wish to record as an almost white highlight, the metering will make an exposure around 2.3EV brighter than mid-grey. The resulting image will be the brightest possible exposure of the scene, with as little burnt-out highlight detail as possible. It is a great feature for those who like to ‘shoot to the right’ of the histogram, before darkening the image slightly where necessary, using software, to help keep noise to a minimum.
It is difficult to talk about the metering without mentioning the many different image adjustments. For JPEG users, there are many different ways to adjust images, and it is worth remembering that if you also save the raw files, they might look very different from the corresponding JPEG, which often show a lot lighter or darker than the implied exposure due to the application of image effects.
Olympus OM-D E-M1 review – Dynamic range
Image: I found the dynamic range of the E-M1 to be acceptable, although there were some unavoidable blown-out highlight areas
One of the criticisms of four thirds sensors in the past has been their smaller dynamic range when compared to an APS-C sensor of an equivalent resolution. However, advances in sensor technology mean this is no longer such an issue. The E-M1 has also been helped (like its predecessor, the E-M5) by that fact that it uses a Sony-made sensor, whereas previous Olympus models have housed Panasonic units.
Generally, Sony manufactures sensors with a very good dynamic range, and this is the case with the E-M1. We have measured the camera as having a dynamic range of 12.28EV at ISO 200, although this drops to 12.09EV at ISO 100 and 5.88EV at the maximum ISO 25,600 setting. This is on a par with some DSLRs, and there is plenty of recoverable highlight and shadow detail.
As mentioned in Metering, the E-M1 offers a number of ways to adjust the contrast curve of images. As well as the usual HDR, highlight and shadow tone, and Olympus Dramatic Tone Art Filter effect, the tone curve can be adjusted manually. This allows the highlight and shadow range to be brightened or darkened on a scale of ±5. This is great for JPEG shooters as it allows the image to be tailored inside the camera and previewed live on the rear screen while it is being taken. The front and rear control dials are used to make this adjustment, and as it can also be seen live in the viewfinder you can do this while keeping the camera held to your eye.
Olympus OM-D E-M1 review – White balance and colour
Image: The Colour Creator makes it easy to add a slight tint to monochrome images
It is rare to find a camera that has a truly bad auto white balance feature, and thankfully the Olympus OM-D E-M1 isn’t one of them. Colours are generally realistic and well rendered, and there are more than enough presets and options for tweaking and adjusting the default settings to get the exact colour balance required.
One very interesting new feature is the Colour Creator. This is a virtual colour wheel controlled via the two control dials. Turning one of the dials moves the marker around the Colour Creator, which changes the hue, while turning the other dial changes the saturation.
By using the two in combination, you can create different colour effects. For example, you can shift the hue round to a blue colour and completely desaturate the image to create a monochrome print with a blue tint, or give an image the look of a vintage print by adding a slight yellow tint to it.
Combined with the various different art filter effects and image styles, the contrast curve adjustments and the different highlight and shadow tone settings, there is a ridiculous number of ways to alter the look of your images in-camera – in fact, I think too many.
I always shoot raw+JPEG, so have the raw images to fall back on, but I found that with so much choice I was constantly trying out different effects. Thankfully, there is an image style bracketing option that will save the same image with a number of different image style effects applied, but this quickly eats away at your memory card and increases the time it takes to save each image. I suppose if you always shoot certain scenes in a particular way you can create presets of your chosen settings, but be warned: with the level of control on offer, it may take some time to decide upon your final settings.
Olympus OM-D E-M1 review – Autofocus
Images: Shot using the Zuiko 50-200mm f/2.8-3.5 ED SWD four thirds lens with the MMF-3 adapter, the phase-detection AF of the E-M1 did a good job of keeping focus on the horse’s head over this sequence of five images
Despite the Olympus E-M1 having a sensor capable of phase-detection AF, the feature is only employed when using four thirds lenses via the MMF-3 adapter. When using standard micro four thirds lenses, the camera relies on the standard contrast-detection AF.
When we first saw contrast-detection AF used in compact system cameras a few years ago, focusing was noticeably slower than the phase-detection AF we were used to seeing in DSLRs. However, in the past year or so, things have changed quite dramatically. No longer is contrast detection the poor relation of phase detection AF, and many CSCs actually have contrast-detection AF that is faster, in some conditions, than the phase-detection autofocus found in DSLRs.
Indeed, the Olympus OM-D E-M1 has an extremely snappy contrast-detection AF system. If you look at the way the camera focuses the lens, you can see exactly how focus is acquired so quickly.
The AF motors operate at a very high speed to find the highest point of contrast. However, to do this, the focus must go slightly beyond this point to know exactly where the contrast peak is. Once the AF has quickly established that it has gone beyond the contrast peak, the AF motor slows down slightly and reverses back to the correct point, which is the point of focus. All this happens in a fraction of a second.
In total, there are 81 selectable AF points on the E-M1. These can be selected at a standard or small size, or a group of nine areas can be selected, which is useful if you are trying to focus on only a small area of the frame – useful for wildlife or portrait photographers, perhaps. Portrait photographers may also be pleased to hear that the E-M1 features face-detection AF, which is capable of detecting the subject’s eyes before focusing on the one nearest to the camera. That’s great for professional photographers, but also for amateurs wanting the sharpest images.
Olympus OM-D E-M1 review – Noise, resolution and sensitivity
Image: Shot at ISO 400, there is no shortage of detail in this image. However, there is more noise than I would expect in shadow areas
The OM-D E-M1 has no anti-aliasing filter in front of its sensor, which has the effect of increasing the amount of detail that the camera can resolve. In our test chart images, the E-M1 resolves about what you would expect from a 16-million-pixel sensor, reaching over 30 on our chart when shooting JPEG images at ISO 100-400. The resolution drops incrementally as the ISO increases, but JPEGs still look well defined at ISO 1600, and there is only a slight drop in resolution.
It is at about ISO 6400 that the resolution starts to drop noticeably. There appears to be heavier luminance noise reduction at this level, while at ISO 12,800 and ISO 25,600 images look mushy and reach only 20-22 on our resolution chart. Despite the obvious detrimental effect of luminance noise reduction, colour noise is only very slightly visible, even at these high sensitivities.
Looking at the raw files in Adobe Photoshop Lightroom gives a clearer idea of how much noise reduction is taking place in-camera. Colour noise is extremely well handled in JPEGs, and it was possible to remove virtually all colour noise from raw files at all sensitivities. Luminance noise is obviously far more visible in raw images, but with no luminance noise reduction applied, images are sharper and crisper.
I was a little disappointed with how soon luminance noise begins to appear in images. At ISO 400 and ISO 800, there is obvious luminance noise in raw files and JPEGs, although it won’t be a concern for most photographers. Without wanting to sound like a broken record, luminance noise kicks in about 1EV earlier than you would expect it to from the equivalent APS-C-sized sensor. However, it is important to reiterate that the images from the E-M1 are usable right up to ISO 6400. Colour noise can be completely removed from raw files and luminance noise can be softened slightly, without causing a huge loss of detail. However, the vast majority of photographers will take most of their images between ISO 100 and ISO 400, where luminance noise isn’t an issue.
These images show 72ppi (100% on a computer screen) sections of images of a resolution chart, captured using the Olympus M.Zuiko 75mm f/1.8 lens set to f/5.6 . We show the section of the resolution chart where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the better the camera’s detail resolution is at the specified sensitivity setting.
Olympus OM-D E-M1 review – Viewfinder, live view, LCD and video
For those still moaning about the quality of electronic viewfinders, I would urge you to take a trip to your local camera store and have a look through the 2.36-million-dot display of the E-M1. It is about the best on the market, with a fast refresh rate, no noticeable signs of CMOS wobble and no rainbow tearing – were it not for the digital overlays informing you of the current exposure settings, it is quite easy to forget that you are looking at a digital display.
The EVF will no doubt be a major consideration for Olympus E-series DSLR users who are considering the E-M1, and while the EVF may not be for everyone, I would encourage potential owners to approach the technology with an open mind. The new generation of EVFs go way beyond those used in video cameras of ten years ago, or even entry-level bridge cameras.
The 1.037-million-dot, 3in articulated screen is also built to a very high standard, with images looking bright, crisp and clear, with good contrast. The mechanism for moving the screen is sturdy, and being able to comfortably take pictures at low and high angles is genuinely useful. As I mentioned earlier, the touchscreen is somewhat redundant due to the number of buttons and controls on the camera, but it is useful for quickly changing the AF point.
Video is still a secondary consideration in the Olympus OM-D E-M1, and it is clear that the camera is built almost purely for photographers. This is not to say that the video isn’t very good: it can shoot in full manual exposure mode, at 1080p resolution at 30fps, and there is an external microphone socket. However, the phase-detection AF cannot be used when shooting video, so there is still some hunting for the focus point, particularly when using continuous AF.
Olympus OM-D E-M1 review – The competition
There are still relatively few high-end CSCs that could be considered real replacements for a DSLR. With a 24-million-pixel APS-C sensor, the Sony NEX-7 has been the favourite of many photographers, and at its current price of £720 it is £580 cheaper than the OM-D E-M1.
Those wanting high image quality and a more traditional design will still be tempted by the Fujifilm X-Pro1, which has a 16.1-million-pixel sensor with a unique filter array and no anti-aliasing filter. It has also been out for a while now and is priced at £950.
And let’s not forget the Olympus OM-D E-M5. While the older micro four thirds-system camera may not have quite the same high specification as the new E-M1, it will certainly meet the demands of most enthusiast photographers.
Olympus OM-D E-M1 review – Our verdict
The Olympus OM-D E-M1 is one of the best micro four thirds-system cameras yet, so if this test makes it look like a serious camera, that’s because it is. The rugged-looking magnesium-alloy, weather-sealed body has all the features an enthusiast photographer (or professional, for that matter) would want, including little details like a PC flash socket.
E-series DSLR users may be a little disappointed that the line appears to have come to an end, but thankfully the E-M1’s phase-detection AF sensor works well in combination with the MMF-3 adapter and four thirds lenses.
Image quality has improved, although luminance noise appears at lower sensitivities than I would have hoped. However, it is still an excellent camera and images look good even at comparatively high ISO sensitivities.
Until now, photographers wanting a small CSC to replace a DSLR had few real options, but thanks to its features, build and handling, the E-M1 should be ideal.
Olympus OM-D E-M1 – Key features
The E-M1 has a flash-sync speed of 1/250sec, or 1/4000sec in Super FP Mode. It comes with a small detachable flash that can also act as a wireless controller for FL‑36R, FL‑50R, FL‑300R and FL‑600R wireless flashguns.
Dial mode switch
Switching between option 1 and 2 changes the functions of the front and rear dials.
The 3in, 1.037-million-dot-resolution screen has seven different levels of brightness for a variety of shooting conditions.
This is easily accessed while shooting with your eye to the viewfinder, and can be used to change a number of different settings.
Olympus OM-D E-M1 – Introduction
The replacement for the Olympus E-5 has been rumoured for some time, with much speculation as to the exact form the camera would take. Some thought it would be a four thirds system camera, either without a mirror or with a pellicle one. Others believed it would be a micro four thirds system camera, with a clever new adapter to allow the use of four thirds lenses, possibly including some sort of pellicle mirror to allow phase detection – like the Sony Alpha to NEX mount adapter.
The reality is that the new Olympus OM-D E-M1 is rather more conventional. It is, in fact, a micro four thirds system camera that relies on the existing MMF-3 four thirds to micro four thirds mount adapter to mount four thirds lenses. The issue with this is that the existing contrast-detection AF technology may be slow when focusing lenses that aren’t designed to be used with it.
To speed up focusing with four thirds lenses, Olympus has come up with a new sensor design that enables phase-detection AF on the camera sensor.
The E-M1 on display at the launch was the final version and I was allowed to use it for a day’s shooting.
Olympus OM-D E-M1 – Key features
Although the new Live MOS 16-million-pixel sensor has the same resolution as the one in the previous OM-D E-M5, it is a new design. It has no anti-aliasing filter, so the image resolution can be maximised, while the TruePic VII processor allows images to be captured as raw or JPEG images between ISO 100 and 25,600.
If the photographs I took are anything to go by, the new sensor is excellent. Fine details in the images look crisp and I have a feeling the camera will perform very well in our resolution test when we conduct our full review in the next few weeks.
The big change is the introduction of on-sensor phase-detection AF. The Olympus OM-D E-M1 uses High-Speed Imager AF, which benefits from a combination of both contrast and phase-detection autofocus. The 16-million-pixel Live MOS sensor uses a unique half-pixel arrangement to allow for on-sensor phase-detection AF. Any four thirds optics used with the MMF-3 adapter will be able to take advantage of phase-detection AF, while micro four thirds lenses will use the standard contrast detection AF. Existing four thirds owners who have registered their camera can claim a free MMF-3 adapter if they order the new OM-D E-M1 before November this year.
My initial impression of the AF was that it was fast when both using four thirds and micro four thirds lenses. Four thirds Olympus lenses with SWD coped reasonably well in continuous AF mode with a horse galloping towards a camera, and the 6.5fps maximum shooting speed with the AF producing some great images. With a 1/8000sec maximum shutter speed and a 10fps shooting rate, without continuous AF, the E-M1 is certainly no slouch.
At its launch, Olympus was clear that the E-M1 isn’t designed for sports photography, which can often be faster and more erratic, but my initial assessment of the AF for four thirds lenses is that E-5 owners should be satisfied. Again, I’ll really concentrate on this area in the full test of the camera.
Obviously, the E-M1 can detect whether a four thirds or a micro four thirds lens is attached to switch the autofocus method, but it uses the lens data to do more than this. By identifying which Olympus lens is mounted on the camera, distortion correction and sharpness can be applied specifically for the lens in use – in much the same way that it can be applied via profiles in software afterwards.
Olympus OM-D E-M1 – Build and handling
The design of the OM-D E-M1 harks back to Olympus’s classic OM SLRs, with the emphasis on making a camera that photographers want to use. With this in mind, the aim of the design team behind the Olympus OM-D E-M1 was to build a camera that was the perfect size and weight for photographers, not to make the smallest camera possible. As a result, the E-M1 has a built-in handgrip, which was an optional extra on the E-M5. There is an optional HLD-7 vertical battery grip for the E-M1, which makes it easier to shoot in portrait orientation, as well as providing more stability and balance when shooting with larger four thirds system lenses.
The body is made from magnesium alloy, which makes the camera lightweight yet reassuringly strong. It is also weather-sealed, making it dustproof, splashproof and freezeproof down to -10°C, so you can take photos whatever the weather. In fact, Olympus demonstrated its confidence in the weather-sealing by having a camera on a tripod in a shallow lake and having a horse gallop past it.
Triggering the camera in a situation where you might not want to get your feet too wet is made easier by the fact that the camera can be remotely triggered via Wi-Fi. Even the Live Bulb mode can be used via Wi-Fi, meaning the bulb exposure can be previewed on a tablet or smartphone.
Overall the camera handles well, with front and rear control dials that can be used to change a number of different settings. A two-way function switch can quickly change the functions of the front and rear dial, so one minute they can be used for aperture and shutter speed, and the next for white balance and exposure compensation, for example.
One of the more innovative uses is the new Colour Creator feature, which allows the saturation and hue of the image to be changed by adjusting front and rear dials. Similarly, highlights and shadow tones can be customised using these dials. With so many different ways to customise the image to your own personal taste, it is worth spending some time with the camera going through and customising the image settings. It is possible to get great JPEG images from the camera, but it can take some time to get them exactly how you want. In fact, the sheer number of controls, combined with the 3in touchscreen, can make it a little intimidating to know exactly where to start or which buttons to use to control what.
The rear 3in 1.037-million-dot tilted screen isn’t the only way to compose and review images. There is an impressive 2.36-million-dot EVF, with a high 1.48x magnification. Again, my initial impressions of the EVF were very positive, although I did notice that in colour images skies had a slight cyan cast. Again, I will review this in my full test of the camera.
Olympus OM-D E-M1 – Initial impressions
The time I had with the Olympus OM-D E-M1 left me really looking forward to having it for longer, so that I can really get to grips with the wealth of its different features.
As the replacement for the E-5, the E-M1 looks like it isn’t going to struggle, and indeed the initial review of the image quality and focusing shouldn’t disappoint E-5 users, even if the camera isn’t quite what most were expecting.
The E-M1 is due out in mid-October, priced £1,299 body only or £1,949 with a 12-40mm f/2.8 lens.
The Olympus OM-D E-M1 will be reviewed in full in one of our October issues.