Hans Groen

olympus om-d e-m1ii and my equipment

Currently I own an Olympus OM-D E-M1-ii — bought it in the beginning of July 2019, on advise of my partner who saw me having fun with pictures I took at a party of my choir. My main lens is the Olympus D Zuiko 12-60/2.8-4. For lighter travel, I have a Lumix 14/2.5, a Lumix 25/1.7, and the Lumix 35-100/4-5.6. I also have a Zuiko 50/1.8, the standard lens of my Olympus OM10.

Contax with Carl Zeiss 50/1.7, versus Olympus with Lumix 25/1.7. Size does matter, a bit. (Picture was made with my handy, an LG, just in case you were wandering about the low quality.)

I started out long ago with the Zenith-B. More serious work I did with the Olympus OM10. After I lost that camera, together with two lenses, on a trip, I did not do much photography, until I got the Minolta Dimage D7. With that camera, I felt free to experiment and further develop my skills. I mainly do landscapes, architecture, and unusual objects from unusual viewpoints. Flowers I pick along the road, but not systematically and I never know their names. I like to take pictures at street events, though I am not good in events such as weddings and conferences, or portraiture: I am not good in arranging people to pose; at street events, I can just inconspicuously catch people when they are not posing.

After the Minolta I went back to Olympus with the E330 — Minolta had sold its camera division to Sony, and Olympus had launched the FourThirds standard. The E330 came with a 14-45/3.5-4.6 and a 40-150/3.5-4.5. I got the D Zuiko 12-60/2.8-4 after a year, because I found the 14-45 a bit disappointing in quality, though I later on used it as walk around lens on a long trip where we had to pack lightly and then the results I found pleasantly satisfying — I think I developed my skills and art over time.

When the E330 started to feel outdated (8Mp + AA-filter), I looked for a replacement, knowing that would be difficult. I love my D Zuiko 12-60, but that lens is made for phase detection AF. That was only available at that moment, early 2016, with the E-M1, but in a bit of a rudimentary form. I tried the E-m10 when there was a sale of the original model, and judged the af-behaviour with the 4/3 lens to be acceptable. I traded in the kit lenses, sold the E330 to someone who needed the body, and got back to the routine I had developed with the Minolta D7: look at the EVF to adjust the exposure. And what an improvement the E-M10 was in that regard: a good EVF, 16mp, and no AA-filter — almost rediscovering photography! Despite the light mismatch between a Micro FT and an original Four Thirds lens, I got good results at street parties and was also able to use my old Zuiko 50mm to good result.

In the end, we concluded that we could just as well get a matching camera for the D Zuiko 12-60. At the moment of writing, July 2019, I am still discovering all the extras this camera has to offer, and already enjoying the jump in quality with the newer image sensor and better EVF. And the af-behaviour with the DZuiko lens is the way it should be: fast and accurate with no rattling. After reading an article about how to set the camera for birds in flight (on Mirrorless Comparison), I will certainly look for those subjects again (after I stumbled on pelicans in Loreto, years ago).

My gear right now

The D Zuiko 12-60mm/2.8-4 is my workhorse: bright and with an excellent reach, from 24mm wide angle to 120mm tele, in fullframe terms.

The Lumix 25mm I got because I wanted a traditional prime; it is of course a much lighter lens and it makes a good set for a relaxed ‘traditional’ walk around.

The Lumix 14/2.5 I got recently as a handy pancake lens for the Oly E-M10; that made a compact combination for street photography and when on a day trip with my road bike. Very cute and a reliable and versatile wide angle.

The Lumix 35-100/4-5.6 I got as a telezoom for events — it is comparable to the 70-200mm that is widely used in these circumstances. This lens should add a bit of extra reach beyonbd the D Zuiko 12-60 lacks.

And then I still have a Zuiko 50mm/1.8, which produces amazing pictures, still; the lens is of course fully manual, and I sometimes hesitate using it, but I have made quite a few ‘keepers’ with this lens. It brings back more of the craft behind the art. It also teaches you that tests and blur units are not the final word: this lens tests quite mediocre, but I find the results at f4 very pleasing, with a smoothness that some modern designs lack.