Olympus is attempting to discredit the notion that pro-sports photographers need a full frame camera. The OM-D E-M1X, which costs $2,999 (body only), is a compact mirrorless camera with a Micro Four Thirds sensor. It's built as a professional SLR. Its design incorporates the integrated vertical grip preferred by many pro sport shooters, and dual processors add more advanced subject recognition and tracking to its autofocus system—for some subjects, at least. It is priced at $3000, but it must compete with other larger sensors and the Olympus E-M1 Mark II for nearly half of the cost.
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With a grip
Some people believe that mirrorless equals compact. It can sometimes be true. But it doesn't necessarily have to be. Full-frame models are lighter and more compact than an SLR. However, you can't use smaller lenses with them. Cameras like the Olympus PEN-F can be slipped into a jacket pocket with a small zoom or prime, thanks to their compact size.
The E-M1X is not the right choice ($1,899.99 on Amazon). (Opens in new window) Although it is larger than the Micro Four Thirds model (5.8x5.7x2.9inches, HWD, 2.25 pounds), it's smaller than an SLR gripped like the Nikon D5 (6.6.3x3.6inches, 3.0 pounds). The E-M1X has an integrated vertical grip, just like the D5.
The grip is what sets the E-M1X apart. It costs $1,549.00 on Amazon (Opens in new window). The E-M1X shares a lot of its imaging technology with the Mark II—it uses the same image sensor and a very similar (albeit slightly updated) autofocus system—but does offer some improvements. The dual processors improve operation speed and provide better subject recognition to allow for more precise focus tracking. Additionally, refinements have been made to the in-body stabilizer system that allows handheld multi-shot high-resolution capture.
The E-M1X, like the E-M1 Mark II is protected from splashes and dust, is sealed. Make sure to pair the lens with another sealed model. The E-M1X was able to withstand a torrential downpour and I've had excellent results with sealed Olympus cameras under difficult conditions. There is no reason for me to doubt that the E-M1X seals well. Olympus claims that the E-M1X meets or exceeds IPX1 standards. Olympus also showed us video from its internal testing, where the E-M1X was bombarded by water jets coming from different directions. This helped to show how important the company places on weather protection.
Olympus claims that the E-M1X protects the lens when it is attached. During lens changes, Olympus also states that the E-M1X keeps dust from the sensor better. It doesn't do the obvious—which is to keep the mechanical shutter curtains closed when the camera is powered down—but instead relies on improved protective coatings and the sensor-shift system to keep dust spots away. Sensor dust, like any camera that is used for long periods of time, can be difficult to evaluate.
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Familiar Controls
The E-M1X will slide right into the hands of veteran E-M1 Mark II owners—especially if you already use the camera with an add-on grip. The lens mount has four buttons that can be programmed, although they serve only two purposes. The first pair can be used with the camera when it is in landscape orientation and the second for portrait photography. The controls are made so they will always be under your fingertips, regardless of orientation.
The top controls can't be duplicated. The top plate is topped by a raised cylinder. The On/Off switch is integrated into its base. It also has three buttons on the top (Drive, Autofocus and Bracketing). You will find the hot shoe positioned behind the EVF's lens mount. The E-M1X does not include an integrated flash, as with the E-M1 Mark II.
You will find the Mode dial in the same place as the hot shoe, right next to the top. The lock design is simple and secure. It has the usual PASMB settings, four custom settings slots (C1,C2, C3, and C4) and a Movie mode dial. The top button has a Record function that allows you to record videos in all modes. However, switching to Movie mode will allow you to access a different bank of video settings. The shutter release is located at the top, right above the front command dial, and ISO and EV compensation controls are also top-button options.
For photographers with favorite settings, or for events in which you will be changing between shots from one shot to the next, C banks can come in handy. You may use C1 to capture action and C2 to set a faster shutter speed. C2 can be used to blur in motion. Moving the Mode dial from one place to another is faster than moving it between 1/2,000 seconds and 1/15 seconds using a command dial. Do remember that the C settings are very sticky—if you make changes and power the camera down, it will revert to what is saved in the bank when you power back on. These settings include saved mode, shutter speed and aperture as well as ISO.
The rear controls work in a similar way to the E-M1 Mark II but are not exactly identical. The Fn button is in the same place, just to right of the EVF, and is still surrounded by a toggle switch—but the switch now faces in the opposite direction, so it's much more comfortable to adjust. It's pretty useful too—it can do a few different things, including changing what the main command dials do, or serving as the On/Off switch. The latter is a nice touch, as I'm not a fan of having the On/Off switch at the top left—I prefer it to be accessible using my right hand.
Just to the right of the Fn button, the AEL/AFL switch is located. The rear command dial lies to its right. The vertical grip has a counterpart control. A small, eight-way directional controller is also featured twice. The E-M1X's newest feature is a small eight-way directional control. It serves the primary purpose of moving the active focal area, just like controls found in mirrorless Sony a9 cameras. This is a great addition that allows you to easily move the focus area to where it needs to be.
It is located at about middle height. The OK button, which controls four different modes of control, can be found in the center. There's no reason to double it—it sits in roughly the same position regardless of how you hold the camera. The Info and Play buttons flank it, which don't also have vertical dopplegangers.
You will find the rest of the rear controls below the LCD in the area of the camera not physically present on an un-gripped E-M1 Mark II. The buttons for Menu, Delete and Card as well as White Balance are also included. A lock switch can be used to either disable vertical grip controls or lock down the only ones that you have set. C-Lock is the name of this function, and C stands for Custom. The C-Lock isn't the only customizable control—if you dive into the menu you'll find the E-M1X is very configurable.
The controls are easy to use and I was happy with their design. Olympus has a strong on-screen menu to supplement them—it pops up when you press the OK button. As Nikon has done with buttons on D5/D500, I'd like to have some backlighting. Also, an information LCD would be a nice addition on top plates, which you can find on other professional cameras.
It's the same LCD as the E-M1 Mark II. The panel is 3-inch in size and features touch input support. It also has a vari-angle layout. It is sharp (1,037k dots) and bright. Although we've seen bigger screens on other cameras with densely packed pixels, I find the E-M1X to have no deficiencies.
The EVF is not what I like. It's a good deal larger than that of the E-M1 Mark II—Olympus states the E-M1X EVF sports 0.83x magnification, which is up there with the largest we've seen in competing models. It's big—about the same size as the EVF used by the Nikon Z 7—but it doesn't look nearly as good as the Z 7.
The underlying technology has a part to play—the E-M1X uses an LCD panel, while other cameras (including the Z 7) have moved to OLED technology. While the LCD isn't as bright, it does not have the same level of contrast and can become less sharp when the camera is active in focus. We expected better EVFs in this camera, which is why we paid so much.
Automatically, the E-M1X switches between LCD and viewfinder. The eye sensor, however, is way too sensitive. The LCD switches off frequently when the camera is held at waist level. Olympus has the ability to turn off the automatic switching by pressing a button. However, I would love for Olympus to give me the opportunity to disarm it when the LCD moves out from the body.
The EVF also has an odd behavior. The eye sensor will allow you to view images and navigate through menus using the rear LCD. This is a great feature if the camera needs to be brought to your eyes for quick shots, but it can also cause irritation.
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Connectivity and power
E-M1X offers the usual mix of Bluetooth, NFC and Wi-Fi communications options. The Olympus image share app for Android and iOS allows you to send photos and remote control your device using the E-M1X. Olympus has no complaints about this Wi-Fi system. Although you will need to complete an initial setup, once the settings have been locked down on your phone's camera, then it is easy to initiate a wireless transfer.
An Ethernet port is not available on the camera. This is not a feature you will find on many models but it's expected to be on the one targeted at pro-sport shooters. With the Sony a9, Nikon D5, and Canon 1D X Mark II cameras, photographers can connect to a network, transfer images back instantly, and then send them off to editors. Olympus might be targeting the professional market, but the E-M1X is not for pros.
GPS is available on the camera, as well as a compass and barometer. The E-M1X provides more information about the circumstances in which you took a photograph. The GPS offers the most obvious benefit—geotagging your images. The other sensors are not of much use to me, but they might be useful for you.
To communicate with other lighting devices, the camera features a hotshoe and a PC Sync socket. The camera also features a mini HDMI and USB-C, as well as a remote control jack and 3.5mm microphone and headphone connections.
In-camera charging is possible via the USB-C port. Two batteries power the E-M1X. They charge and discharge sequentially, rather than simultaneously. On-the-go charging via USB is very convenient, though I am puzzled as to why the camera can't function and charge simultaneously—it's a feature that would be appreciated for studio use and very long time lapses.
An external charger can be used to charge your batteries. The E-M1X ships with two batteries and two chargers—all identical to the power accessories for the E-M1 Mark II. You can use the same power to both your bodies if you are shooting with them. Olympus should have created a multi-battery charging system, although I understand the limitations of this concept. The USB charger is so simple to use, that I did not touch the wall charger while using the E-M1X.
Olympus still uses SD memory. It's not alone in this class—Sony also uses SD in its a9. The memory cards slots on both the camera and the card reader support UHS-II transfers. While SD transfer speeds are slower than XQD, Cfast or Cfast, SD can still handle burst shots at the E-M1X’s 20MP resolution.
Autofocus System
The E-M1X is fast. The E-M1X is responsive with a quick startup time of 0.7 seconds and an autofocus system that acquires iniital focal and fires shots in about 0.05 seconds. With the help of an on-camera light focus aid light, focus acquisition in dim lighting slows down to about 0.33 seconds.
E-M1X features an upgraded version of the hybrid on-sensor autofocus from the E-M1 Mark II. Some improvements have been made, especially in the area subject recognition. Olympus doubled its processing power by installing two quad-core CPUs instead of one chip that powers the E-M1. The extra power makes it possible for the E-M1X to identify certain subjects—airplanes, cars, and trains—in order to keep them in clearer focus, even if they're moving at the high speeds of which they are capable.
However, tracking is limited at lower speeds. This is still 10fps for the mechanical shutter, and 18fps for the fully electronic shutter. The camera can be pushed to 60fps or 15fps respectively. Focus is maintained throughout the entire sequence. Raw capture can be enjoyed even at 60fps but only for short periods. In addition to standard burst shooting, the E-M1X retains the Pro Capture mode found in the E-M1 Mark II—it can continuously buffer action with a half-press of the shutter. The buffer is saved to the memory by pressing the shutter all the way. This allows you to continue to capture the action even after the moment has passed.
When using the mechanical shutter the buffer can hold 60 frames, and 50 frames when you use the electronic shutter at 60fps. The buffer is easy to fill up, but you'll need to wait for the entire set of images to be committed to memory. A 300MBps UHSII card was used to test the speed. It took 30 seconds to capture Raw+JPG simultaneously and 15 seconds each for JPG or Raw formats on their own.
The E-M1X has special focus modes that recognizes different subjects—specifically trains, cars, and planes. In its Motorsports mode, it does a better job tracking fast-moving cars than without it—a boon for photographers who specialize in photographing races and the like. The camera can also identify helmets so that you are able to photograph Indy or motorcycles with the best focus possible. The camera is capable of recognizing trains and planes in 2 modes. This feature only works when the camera is set to its slower continuous drive mode—10fps for the mechanical shutter and 18fps for the electronic.
The Motorsports Focus function was available at both a NASCAR track, and on a Motocross track. When the camera recognizes a subject it draws a virtual circle around it in EVF. I was pleased to see that the E-M1X could pick up the cars and dirtbike riders as they flew through the air.
Even if you don't work in these fields, there are still some minor improvements that will benefit you, however, it is not possible to expect an immediate improvement in your autofocus performance. The Face Detection system has been improved and can now recognise eyes and faces. It came in handy when photographing football players—not a subject the camera is specifically fine-tuned to identify.
Camera was able lock on to the action and follow players as they ran directly towards the camera at maximum speed. Some of my finest shots can't be published because the NCAA is strict about sharing photos of student-athletes. But I didn't toss many out due to missed focus—the E-M1X nailed shot after shot.
Although the E-M1 Mark II is a great camera to capture action, it was not better than the E-M1X's focus systems. It's only an incremental improvement. The Sony a9 is still the class leader when it comes to autofocus and burst shooting speed—it offers 20fps Raw capture, with tracking, but without any sort of EVF blackout or stutter. The E-M1X has an electronic shutter that doesn't give you a smooth view, so you won't see everything as it happens while you're taking images. The a9 does cost significantly more—it's priced at $4,500—which is important to keep in mind.
Beyond Simple Stabilization
E-M1X is equipped with a Micro Four Thirds Sensor that has 20.9MP resolution. It also features five-axis stabilization. This camera has an improved image stabilization system. When paired with the 12-100mm zoom, the camera is rated for 7.5 stops of compensation—a full stop better than the E-M1 Mark II. Olympus claims that the 12mm zoom will allow photographers to hold shots for up to four seconds. I was able to pull four-second exposures off consistently at the widest angle, but when zoomed in further, I found one to two seconds netted better results—still, that's nothing to sneeze at.
Multi-shot capture is also possible with the stabilization system. The Olympus High Res Shot mode captures a number of images in succession, slightly shifting the sensor between each exposure, and can output a 50MP photo—but a tripod has been a requirement to this point. E-M1X offers a handheld version that uses both the stabilizer and sensors of the camera to achieve the same results without the use of a tripod. This works well and produces images that are more detailed than any single 20MP photo. It's still not practical for moving subjects. The E-M1X has a disadvantage in terms of pure resolution when compared to mirrorless models that exceed 40MP, such as the Sony a7R III.
Olympus photographers are familiar with some additional features that the E-M1X offers. It supports Live Bulb, Live Composite, and Live Time—tools to help you nail long exposures without having to perform complicated calculations to properly balance exposure time, aperture, and sensitivity (you'll see the exposure build on the rear LCD and you can stop it with a press of the shutter). Live Neutral Density is an additional feature of the E-M1X. This simulates the effects of a neutral filter, allowing you to net long exposures and not have to block any light entering the lens.
The sensor's performance was comparable to the E-M1 Mark II in our lab. Imatest (Opens in new window) shows JPG photos keeping noise below 1.5 percent through ISO 6400. However, noise reduction can give normally sharp lines an uneven look. The E-M1X's best qualities are achieved when the ISO 800 setting is maintained.
Although there is some loss in clarity between ISO 1600 and ISO 3200, you can still use either setting. ISO 6400 is slightly less clear, though I still recommend it for emergency situations. I do recommend avoiding the top ISO 12800 and 25600 options when working in JPG format—the output is noticeably blurred.
Raw formats produce more grain, so details are better protected at higher ISO. However, ISO 6400 produces acceptable results. ISO 12800 has a more grainy look that can detract from details. However, you still have the option to use your camera there if you are okay with a slightly rough look. The results shot in the highest ISO 25600 setting look very rough. This is normal for the Micro Four Thirds sensor.
Full-frame cameras have superior image quality at extreme ISOs. At ISO 102400, the Sony a7 III shows similar Raw noise and detail to the E-M1X at ISO 25600. The a7 III and most full-frame cameras capture photos at 14 bit quality. Whereas the E-M1X can only capture 12-bit Raw, this means that you will not have as much detail in the shadows or highlights to adjust for when using Raw images in Lightroom, Photoshop, or any other application.
4K Video
E-M1X can shoot video in 4K resolution, both in UHD and DCI formats. You can set it to roll at 24-25, 25 or 30fps at 4K and up to 120fps for 1080p. The video is stable and you can adjust the exposure manually. Video capture doesn't use the enhanced subject recognition that is available for still shots in AF/C mode.
The E-M1X can record to SD internally and output a 4:2:2 signal through its HDMI port. This allows you to pair it up with external recorders. The E-M1X has both a microphone and a headphone jack, so you can record audio to professional standards. If you want to colour correct your footage, there is a Log video profile available.
In a Full Frame World, Micro Four Thirds
Last year was an important year for photography because it saw the maturity of full-frame mirrorless cameras. With more power than any $2,000 camera, the Sony a7 III was the catalyst. In the latter part of summer, Nikon and Canon released their systems. Leica, Panasonic and Sigma revealed plans to work together on a full frame system that was based upon Leica's L-mount mirrorless camera. In the autumn Panasonic will release two cameras with L-mount lenses, while Sigma plans to produce its own camera likely using the Foveon sensor design.
What does this mean for Micro Four Thirds'? Panasonic stated it would continue supporting the format. However, I believe it will slow down Micro Four Thirds releases to concentrate on full frame development for the next two to three years. Olympus will continue to be the main supporter of the system if I am correct.
While the rest of the industry concentrates on the 24-by-36mm full-frame format, Olympus—and Micro Four Thirds evangelists—are quick to point out the advantages of a smaller sensor. It's been an industry rallying cry for system size and weight, which is largely true, even though you could cherry-pick some full frame combinations that can compete. Although the E-M1X may not be as compact as the PEN-F or PEN-F it is lighter than a large Canon 1D.
Of course, there are also sacrifices. There are sacrifices, of course. The E-M1X's image sensor doesn't have as many dynamic options as full-frame competitors, image noise can be more problematic, and the depth of field is not as deep as other models. We have yet to see any Micro Four Thirds sensors with over 20MP. This puts limits on the format for both high-resolution imaging and future video formats—each frame of 8K video is about 33MP after all.
E-M1X customers don't need to worry about whether Micro Four Thirds suits them. This camera isn't for beginners. It's better suited for experienced shutterbugs.
The E-M1X's modest image and performance gains are not the reason you should consider buying it. You can still purchase the E-M1 Mark II for $1,700. It is almost as good in most aspects of E-M1X. The E-M1X, on the other hand, is for those who are looking for a pro-grade camera, with integrated vertical shooting controls and extended battery life.
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