But enough numbers- the point is that this is a camera you can carry over the shoulder comfortably for as long as necessary, and one that can be casually kept at the ready wherever you go. It’s easily smaller than any of its contemporary competition in the world of film photography, and compared to modern DSLRs there’s really no contest. Even today’s mirror-less cameras are hard pressed to compete with the OM-2’s size. For shooters who want a portable and lightweight yet super-proficient camera, the OM-2 is the best solution. EXPOSURE INDICATOR SWITCH: LED display is activated by selector dial or shutter release button and switches off after about 90 sec. to conserve power. If using manual mode, you can adjust the shutter speed by moving the ring located at the base of the lens mount.

phouphou "The Panasonic 10-25/1.7 is a video lens"—no, it isn't. Some of them may be better suited for video than others, but no Lumix/Leica MFT mount (or, for that matter, L-mount) lens is a dedicated "video lens". The Leitz 35mm lens on the S1H on that video shown on https://shop.panasonic.com/s1h is a video lens. Stop the lens down to ƒ/4 and things become as sharp as a hedgehog’s spines. Contrast and light falloff improve at this aperture as well, resulting in essentially perfect images. Stop further to ƒ/8 and you’ve reached the peak of sharpness with this lens, and sharpness that rivals any of the competition’s standard 50mm lenses. Chromatic aberration, flaring, and ghosting are happily missing in action.Shooting in aperture priority mode is an excellent way to retain a certain amount of artistic control in photography. The shooter can adjust depth-of-field to achieve the desired artistic result, such as maximum sharpness for landscape shooting or dreamy subject isolation for bokeh-doused portraits. With the OM-2 being so capable at perfectly calculating exposures there’s little to worry about in this shooting mode. Even exposures as long as 60 seconds are summarily handled by the OM-2, with the OM-2n being capable of slowing things down even further to a possible 120 seconds. Maximum shutter speed on both models is 1/1000 of a second. Yes, this shutter can do it all. The Olympus OM-G (also known as the OM20 in other markets) was introduced in 1983 as a consumer 35mm SLR. While the OM-1, OM-2 and others were the professional line, the OM-G was of the cheaper options. However, that doesn’t mean it was cheap junk. It also came with provisions for attaching a steady-grip when working with the camera. The OM-20 also features a hot-shoe mount and a 12 seconds self-timer. Shortcomings of the Camera The best things in life are free, right? I’m sure many followers, contributors and readers of 35mmc can recount stories of being handed over cameras for nothing – “I’ve got an old camera in the cupboard, would you like it?” – I do like to tell people I’m into old cameras! Some people don’t like that distorted, circular, or harsh bokeh. However, I’ve always loved this characteristic, and the Zuiko lens certainly gives it. I’ve never been concerned with how razor sharp my lenses are and whether or not I’m perfectly in focus to the edges with no distortion. To me, all these flaws are charm and character. As long as I can focus on my intended subject, the rest can do what it wants: the Zuiko lenses let that happen.

Switching the dial to manual mode allows complete control over both shutter speed and aperture, just like an OM-1. In manual mode the shutter speeds range from 1/1000 of a second to the slowest setting of 1 second, although Bulb mode allows for exposures of any length. After around 12 years of digital photography, I stumbled across film. I found myself coming away from the high contrast triggering photos everyone seems to be creating on digital these days (including myself). I had moved from DSLRs to micro four thirds and still found myself striving for something more creative and challenging. For that, film was the answer.

Comments

The differences between the OM2 and the OM2N are negligible, and you likely won’t notice them in use.”

Practically speaking, the OM-2 is a wonderful machine to use primarily due to its small size. Through the dogged work of famed designer Yoshihisa Maitani (whose name is immortalized by the “M” in “OM”) Olympus was driven to create a new world in which SLRs could be well-made and full-featured while still maintaining a tiny footprint. They succeeded with the OM-1, and that legacy carried on to subsequent OMs. Adhering to Maitani’s overarching philosophy that a camera is only as good as its lens, the XA features an amazingly sharp and distortion-free Zuiko 35mm F/2.8 fast prime lens. It is one of the best lenses ever placed in a fixed-lens camera, and it’s the single aspect of the camera that elevates the XA from a good camera to an amazing one. In fact, the XA is one of my favorite cameras ever made and I’m still fuming that Josh, and not I, was the CP writer who reviewed it. Who’s running this place anyway?!FILM ADVANCE: Lever type with 130° angle for one long or several short strokes. 30° pre-advance angle. Motor drive and winder units attachable. To make the OM double-digit cameras more affordable, Olympus made these cameras from less durable raw materials, and they reduced the shutter-speeds. While the single-digit OM’s could achieve a shutter speed of 1/2000s, the OM-20 had a 1/1000 seconds shutter speed. It’s also quite lightweight making it easy to carry around, and hold in one hand. Like many cameras of the era, the shutter release button and film advance lever are close and in a position that allows you to take an exposure, advance on, take an exposure, advance on with one hand with ease. The same can be said for the shutter speed if you decide to go for the manual adapter route. The aperture control, of course, can be found on the lens you choose. The ISO dial next to the shutter release allows you to set the ISO, as well as exposure compensation too.

Levers, knobs, and switches are singularly focused. Each has a purpose, and each benefits from a clarity of design that’s hard to find in the modern era of cluttered and overwhelming camera controls. This is the kind of camera in which every detail has been carefully sorted to maximize efficiency and make good use of available space. To put it simply, the OM-2 is a refreshing change from the “more is more” design philosophy of current days.

My Olympus OM-10 Review

The nucleus of the system was a series of compact bodies divided into an advanced series and a later consumer-oriented series. The first model was the all-mechanical M-1 which, after pressure from Leica (which already had an M1 model), was renamed OM-1. At the same time the M system was renamed OM System. The camera included a full-aperture TTL Cadmium-sulphide (CdS) exposure meter, and a bayonet lens mount of relatively large diameter. By the end of the 1970s it was joined by the semi-automatic OM-2 and consumer-oriented OM-10. Olympus continued the naming pattern with the 'professional' OM-3 and OM-4, and the consumer-level OM-20, OM-30 and OM-40. The cameras were accompanied by a series of Zuiko-branded lenses, as well as a generous selection of accessories. The majority of OM bodies and lenses were manual-focus only; the OM-707 of 1986 was the only true autofocus model. There’s the weird and wonderful Olympus O-product from 1988, an industrially-designed point-and-shoot film camera created by a truly characterful Japanese designer, Naomi Sakai. This point-and-shoot looks like no other camera out there, functions surprisingly well, and can actually make really pretty photos ( a full review was penned last year).