Hit the link for the rest …

I. Basics/Features

I purchased the E-P2 bundle from Adorama.com for an excellent price. As usual, Adorama provided ultra-fast shipping and I highly recommend them for all your camera needs. As for the camera, below are the specs on the camera purchased …

• Olympus E-P2 DSLR (yes, the camera is tech. a DSLR)
• Micro 4/3rds Sensor
• 12.3 Megapixels
• Shutter speeds from 60 secs – 1/4000 sec including Bulb
• 3 frames per second
• In-camera image stabilization
• 3″ 230k rear LCD
• Autofocus Tracking
• Contrast Detection AF system
• ISO 100-6400 (100-1600 for Video)
• Dual control wheels
• Supersonic Dust reduction
• RAW capable
• 720p, 30fps video recording w/ stereo sound
• Multiple Aspect Ratios, 4:3, 2:3, 16:9 & 6:6
• Face recognition
• 8 in-camera Art filters and 14 scene modes
• Multiple Exposure with Image Overlay ability
• Mini-HDMI Out, which allows you to control your camera from your TV remote
• Hot shoe adapter

Bundle Included:

• VF-2 Electronic Viewfinder
• M. Zuiko 17mm f/2.8 Pancake lens (22.5mm deep)

II. First Impressions

When I first opened the E-P2 box I was impressed with how well it was packed. Everything was in an individual plastic bag and then wrapped in foam sheets. The E-P2 itself was heavy with an overall feeling of solid construction. Buttons are firm in their respective slots and not loose at all. Command dials were solid feeling as well with no wiggle room. In fact, I believe the upper command dial is made of metal.

The “black” color of the camera is more like a dark grey, but not at all displeasing. Great chrome accents help to pull across the retro feel of the device.

The overall solid feeling of the E-P2 does not carry over to the VF-2 electronic viewfinder. Compared to the E-P2 the VF-2 feels flimsy and poorly made. The outer shell is matte plastic and doesn’t match the color of any of the plastic on the E-P2 itself. But, don’t let the cover fool you, the VF-2 is a top-notch device functionally speaking.

The M.Zuiko 17mm f/2.8 lens feels well made with good heft to it. It is not at all loose when placed in the body and feels well mated to the E-P2. The chrome color matches well with the E-P2.

The body seems a little smaller than the cheaper consumer targeted E-PL1, which might be an issue at first if you are like me and possess large hands. Although, with this being said, everything is in good relation and using the E-P2 with large hands is not at all impossible. I would suggest getting a good strap to prevent dropping the E-P2 if you do, in fact, have large hands … if you have them, you know what I mean.

II. Interface

The interface on the E-P2 is a little clunky for such a high end camera. It seems horrid at first, but cycling through it for a day or three will allow you to learn it quite well. Its not really all that bad and the initial shock of the interface probably comes from my experience with full scale Nikon DSLR interfaces.

III. Performance

So, now we get to the brass tacks of the matter, the performance of the E-P2. One of the biggest complaints people have regarding the E-P2 is Autofocus speed. It is true people were very accurate in their assessment of the auto focus on the E-P2’s predecessor the E-P1. However, the E-P2, along with the recent Firmware release has significantly fixed this AF issue. In good light the E-P2 can autofocus in less than 1/2 second by my own unscientific calculations. In low light the AF can hunt a little longer than I like, so if you shoot primarily in low light the E-P2 might not be the best option for you. Olympus should consider releasing a low light AF assist add on that attaches to the hotshoe and fixing this issue in the E-P3.

Another complaint on the E-P2 is the low definition rear LCD. Since these cameras do not have a viewfinder images are composed on the LCD or through the VF-2 EVF. Because of this fact, the lower quality LCD is an issue that people have grumbled about. Personally, I haven’t found an issue where the lower quality screen has impeded my ability to take a good shot. Although, I can understand the issues people have with a cheap performing LCD in a 900.00 camera body.

The LCD is a perfect segue into my impressions of the VF-2 electronic viewfinder. While it might be made of cheap feeling plastic the LCD inside of it is OUTSTANDING. I would challenge anyone to be able to see the pixelation in the VF-2. It is crystal clear and color reproduction are top notch. My personal opinion is not to buy this camera without the VF-2, it is well worth the cash.

The M. Zuiko 17mm f/2.8 lens that came with my E-P2 is an upgrade from the normal kit lens (the M. Zuiko 14-42mm f/3.5-5.6). While it is a good lens it does not hold a flame to the exceptional Panasonic 20mm f/1.7 lens that also fits the Micro 4/3rds mount on the E-P2. In my opinion, if you can’t get around it, go with the 17mm f/2.8 over the 14-42mm kit lens, if you can swing the cash just buy the E-P2 body and the Panasonic 20mm f/2.8 separately (MSRP $299.00)

The battery for the E-P2 is accurately described at being able to power the camera through roughly 250-300 shots. This is roughly what a 4GB SDHC card will hold. As such, I would advise that if you plan to shoot more than a few hours, perhaps on the streets, to purchase a second battery to have on hand.

Lastly, I wanted to address the Flash Sync on the E-P2. Officially it is listed as 1/180, however, in my experience my E-P2 was able to fully sync at 1/320 sec. Others I know have reported being able to sync at higher speeds, some as much as 1/500th sec. The camera is fully capable of using remote triggering devices for off-camera lighting. I tested the sync speed with a set of Cybersyncs from Paul C. Buff with no misfires.

IV. Art/Scenes

The E-P2 has a great mixture of special artistic settings that you can use to create some amazing shots. While I won’t go over them all and post samples, I did want to touch on a few of them that I think are amazing.

The cross process and lomo settings are just great, very artistic and works really well. However, when using the Art settings the viewfinder tends to become staggered and it slows down my shooting process.

Multiple exposures are just awesome on the E-P2. You can use any image you’ve shot to create a double exposure or chose to shoot two shots back to back. BUT, here is the kicker. When you are shooting a double exposure the E-P2 actually overlays the previous image over what you are seeing through the EVF. This allows you to line up the second image to perfection. This is a superb way of creating double exposures.

V. Accessories

So, now that you know about the camera, lets talk accessories. A leather case for the E-P2 is strangely absent from Olympus’ lineup. There was one for the E-P1 but it is oddly gone with the release of the E-P2. Perhaps this is because Olympus is preparing to release an updated model or they just decided not to move forward with the product any longer, either way its disappearance means you’re left looking for cases elsewhere. There are numerous options out there for these camera’s due to their popularity so don’t settle for the first one you find. Look around and find something that matches your personality.

Another fun accessory for the 17mm f/2.8 lens are the 37mm augmentation lenses meant for camcorders. Usually selling for less than $30.00 USD, these lenses come in a couple different styles. Wide angle, fisheye, and 2x telephoto are three of the more popular, easy-to-find, types.

Lastly, you can not talk about Micro 4/3rds cameras without talking about the plethora of adaptors available for the E-P2 and other Micro 4/3rd cameras. Everything from modern Nikon/Canon lenses to 80 year old C mount lenses designed for early motion picture cameras, you’ll find an adapter for. As a Nikon shooter the first thing I bought was a Nikon adapter. It is important to note that fully manual lenses are the best options to use due to the lack of aperture control in the E-P2 for old lenses. Also note that you need to set the camera to shoot without a lens so it doesn’t look for the electronics of a normal lens. This ability is one of the things that draw people to the E-P2. Everything from 25.00 CCTV C-mount camera lenses to 10,000.00 Leica f/.90 M mount lenses can be pulled from storage and used again. In some ways the E-P2 is being considered the “poor man’s Leica M9.”

IV. Conclusions

Overall, I have to give the Olympus E-P2 a 4.5 / 5 rating. The .5 loss comes from the low quality LCD, lack of AF assist lamp, and clunky interface.

The VF-2 receives a 4.75 / 5 rating with a quarter point knocked off for the light weight plastic housing.

The M. Zuiko 17mm f/2.8 gets a 4 / 5 rating. This is because the lens just isn’t as sharp and contrasty as a photographer would like, although it is an overall excellent lens it is not quite up to par with the E-P2.

VI. Sample Shots

A review of the Olympus E-P2, pack film Polaroid tutorial, Tokina 12-24 f/4 review, a review of Adoramapix’s photobooks, blog posts from two photo road trips planned for mid-July and early August, and lastly I am adding a new section to the site … a print store. The Print store is where you will be able to purchase my limited edition prints directly from me, all hand signed and numbered. In addition, I’ll be running a contest or two, the gallery will be updated, AND I’ll finally get the Wedding gallery up and running.

So, bear with me and I promise I’ll make it worth the wait.

W.

Before I get into the good stuff, I just want you mention that I won’t be going into significant technical details about this lens. That information is readily available from Nikon USA’s website, and unlike other blogs, I don’t feel the need to continue to beat the dead horse. The point of this review to is to let you know how this lens feels in the field during use. That being said, lets get started.

Having recently acquired some funding to upgrade my photography I entered into full on research mode. As a photographer, I find that I swing one of two ways … 1.) I try my best to maximize each dollar. I consider the amount of possible use, the number of times per month I can use it, longevity, upgradability, image quality, etc, etc, etc. and 2.) I blow a wad of cash on something that I’ll probably use once a month (maybe).

For me, the 80-200 f/2.8 AF-D was a case of #1. After a month of research, I felt that the 80-200 would be the best option for my style of photography. Good range for wildlife, nice low-mid range for portraiture, fast for low light usage in wedding situations, awesome bokeh, and great crisp focus. At 1100.00 new, in comparison to the 2000.00+ 70-200, the 80-200 f/2.8 is a STEAL … period. Occasionally, you can find it Refurbed by Nikon in the 800.00 range, Used ones tend to go in the 500-900 dollar range. Something to note when shopping for a Used 80-200, there are actually two versions of this lens. Originally, the lens was a push/pull style but was later switched to the current two ring version. Having used both, I can personally say that I prefer the two ring version that I own.

Build Quality

You cannot talk about this lens without discussing the build quality. Weighing in a roughly 3.5 pounds the 80-200 f/2.8 is largely constructed of metal. I don’t recommend dropping it on concrete. Internally, the lens contains 16 elements in 11 groups including 3 ED elements. The aperture is formed with 9 rounded blades for buttery smooth bokeh when shooting wide open.

Focus Speed

One complaint that people have with this lens is that it is slow to focus. Personally, I don’t agree with those people. From my own tests with a Nikon D80 I can focus the entire range in less than 2 seconds. Two seconds might seem like a long period of time, but for the range the lens gives you I find it to be quite acceptable. There is occasionally some back focus, but I have determined that this isn’t a problem with newer/better spec’d bodies (D90 and up).

Image Quality

Well, it’s just perfection … Im not sure if there is anything I can really say more than that. It is tack sharp with little evidence of distortion. It has great contrast and with the f/2.8 you can get great shots in natural light. The below images was taken at 200mm, roughly 25ft away, handheld in natural light.

Hood

The optional hood, the HB-7, is … well, pathetic in my opinion. It is functional, but no where near as good as it could be. However, the HB-29, that is made for the 70-200 is an excellent replacement. The mounting grips are different though and you will need either a 3rd party adapter (via eBay) or you can choose to modify the HB-29 petal hood to fit the 80-200. In my opinion, the adapter is well worth the 30.00 (including shipping) even though it can be a little difficult to use sometimes.

A third option is a 77mm screw on rubber hood. They are made by several different companies, but I recommend the one manufactured by Mamiya. This hood sells for about 30.00 and can be purchased via any number of camera stores.

Overall

Overall, this is a spectacular lens for the money. Some might not think that 1100.00 is a small amount, but when compared to the 70-200’s price, 1100.00 is a great value. Don’t think about it, just buy it! I got mine here.

I’ve been using ultra-modern, cutting-edge tech, (circa 1992) Vivitar 5250 (RL Edition) and 5600. The 5250 is a great modern looking flash with nice throw and the modular 5600 is still a workhorse powerhouse in the field. Both use 4 AAs however I am in the process of DIYing a 6volt battery pack for the pair as well, more on that later.

The 5250/5600 use modular dedicated feet in place of selling various dedicated flashes. One non-dedicated flash system and 5 different feet for different camera setups. The large shape of these feet make those with less electronics prime for adding in a sync port. For those stuffed with PC boards, a 1/8″ dongle is the way to go. For those interested, the Olympus/Pentax foot module has the most room that I am aware of and thus make for the cleanest port install.

Let’s get started …

Step 0: Gather tools and buy items. You will need a mono 1/8″ mini-phone plug from Radio Shack. I paid 3.29 for two, VERY PRICEY, but it better than waiting on shipping. You will also need two short (~1.5 inch) lengths of wire. A soldering iron and electronics appropriate solder (rosin core). You will also need a very small #0 screw driver.

Step 1: Open up the foot module.

Step 2: Locate the proper pin sites and solder your leads.

Step 3: Drill the hole for the jack, and install the jack.

BE ADVISED THE FOLLOWING OPTIONAL INSTRUCTIONS WILL “NEUTER” THE TTL OPTIONS ON YOUR FLASH. IF YOU ARE NOT AWARE OF WHAT THIS MEANS YOU SHOULD GIVE SERIOUS THOUGHT TO MOVING FORWARD.

Optional Steps:

I am a voyeur. A peeping tom.
I see in the dark and I reign in the light.
I view the things that are, and imagine those that cannot be.
I look and I truly see.

I wear the hats of many.
I am a climber, a diver, a driver, a miner.
A mother, a father, a son, and a daughter.
An artist.

I sail the seven seas.
I walk across deserts and brave the arctic breeze.
I march through jungles. I trek airy peaks.
Just to try and look and see.

I contort, I wedge, I bend, I pose.
I crawl through sand, dirt, fire, the snows.
I shoot the mountains large, the smallest of rose.
I frequent the places where no one else will go.

Famine, fires, floods, wars, earthquakes.
Their prints sit beside those of pristine lakes.
The lens unflinching at the horror, the horror.
It is only there to look and see.

I chronicle our time, the history of earth and man.
I record my life in portions of seconds.
Till that final shutter closes.
My images will remain when I am gone.
Reminding others that I was here.
That I was unafraid to look and see.
I was a photographer.

A few months after my order with Mpix I was in need of some more prints. Having just purchased some gear from Adorama, they had hit up my Inbox with an email detailing their print service. I ended up ordering several prints on their True B/W Paper (Ilford) and Metallic paper (Kodak). All I can say is WOW. The prints were excellent, richly colored and the paper just felt better in the hands. Having a background as an Art Director in Graphic Design, I know paper quality when I feel it. No need for a caliper here! Overall, the only Con I have for AdoramaPix is their sizes in True B/W Matte paper are a little too limited in my opinion. I’d like to see a solid 11″ x 14″ and maybe even a 16″ x 20″.

My prints arrived via USPS (although faster methods are available) in seriously sturdy packaging. In fact, I often deliver my prints to buyers in this packaging (always be sure to recycle them once you’ve worn them out!). Each print job was individually wrapped and back boarded. Larger prints include corner protection “bumpers” to eliminate crushed corners.
Overall, packaging from AdoramaPix get a 5 out of 5. The boxes get a 6 out of 5, 1 extra for being able to reuse them.

Other than the one small issue of True B/W Matte print sizes, I have had no serious issues with AdoramaPix. If you DO need larger True B/W Matte prints, drop AdoramaPix a note asking them to carry bigger sizes, until then you’re stuck with going elsewhere. All in all, I HIGHLY recommend you try out AdormamPix. I use them as my primary source for prints and Im sure you’ll be happy with your results as well.

UPDATE: I’m getting some increased web traffic after being mentioned on AdoramaPix.com’s blog. I just thought I would update this review with my most recent dealings with AdoramaPix.com. Three weeks ago I placed an order which included a 20″ x 30″ print on Kodak Lustre paper.

In all honesty, this print was a bilateral test. One, I wanted to test just how far I could push some of my earlier, lower megapixel/resolution, shots. Two, I wanted to see the 20″ x 30″ quality from AdoramaPix prior to offering the option for a project that I hope will turn into some name recognition within my home state. When I received my order it was perfect, as usual, however the 20″ x 30″ print had been creased during shipping.

I was literally on my way out the door for a shoot in a neighboring state when I dropped AdoramaPix a quick email detailing what had happened. BEFORE I GOT OUT TO MY SUV, I had a response from AdoramaPix telling me they would reprint the image and ship it out, Rush Order, at no charge. By that evening I had a shipping notice and the print was sitting on my porch when I returned home.

I can’t begin to explain how impressed I have been with AdoramaPix. From quality prints, excellent color correction (by request), top notch paper (the Kodak Metallic is simply breathtaking), and now super customer service. AdoramaPix is an excellent choice for all those needing prints, from a mom needing prints for Grandma, to the casual photographer, and to the dedicated professional. Nothing from my original review has changed and I continue to highly recommend AdoramaPix.com for all your photographic printing needs, as well as Adorama.com for everything else. Cheers!

Occasionally, however, photography can land you in a spot where you have reached an apex. A point in time and space where the cosmos/nature are prepared to give you a rare Jackpot payout. To send a message, as if to say, “We’re watching you, keep up the good work.” For me, this happened yesterday.

After driving through No Where, South Eastern Kentucky for over an hour we arrived at the top of a small mountain. 2200 feet in elevation. Small by Rockies’ standards, but approaching the top of the world in this area of the country. Last time we were here we got to see the elusive elk that meander around these parts. This time there were no elk, but the wild horses that roam the area were hanging out for a mid-morning snack. We snuck around leaving quite a distance so as not to spook them.

After a few minutes the “Alpha” male amongst them began to make his way towards us. His actions weren’t hostile so we stayed put. He came up to my friend first, putting his nose into the hood of my friends 400mm Canon lens. The horse noticed me taking a few shots of him and my friend, and came over to me. Highlight of my day. Petting him for those few moments, I felt connected to something WAY bigger than me. Miles from civilization, in the wild, 2200 feet up, 360 degrees views, super cold, and windy. Just us and our new friend. Don’t worry nature … I got the message, loud and clear.

Photo by Daniel Boggs

As most people know by now, Apple announced the iPad on Jan. 27th to much applaud and fanfare. Going so far as to call it evolutionary and “magical.” However, after the announcement there were many naysayers who were expecting a tablet style laptop, not a Supersized iPod Touch. Or the more humorous “4 iPhones Taped Together 1.0″ … at least on 4 iPhones Taped Together 1.0 I could multitask.

Personally, Im on the fence. I can see some potential, but I think it will be many months before we see really significant movement of iPads and iPad targeted apps. With that being said, lets take a look at this device from the photography side of things.

#1 Use of the iPad for Photogs: Sleek On-Site Portfolio

There you have it people, all laid bare, one sentence, no going on and on about potential. 500.00+ base price, PLUS a possible 130.00/year for 3G access … for a photo album. You see, potential is important, but potential energy hasn’t manifested itself yet. Unless you convert it to something useful, it just sits there. Besides, 500 bucks will buy a nice prime lens.

Yes, Im aware of the add on that *might* allow you to offload images from your camera or SD card … the latter throws the Pros out right off the bat. And even if they did support CF, a 64GB device isn’t nearly enough space. If I can only view images, again, there are much better products to fill that gap. For instance, Epson’s line of portable backup/image viewer drives. Look and backup at the same time, for less money than the iPad.

For other uses, such as web, email, and audio/video … there are cheaper and more robust alternatives to the iPad. One of those choices is the newly released Asus Tablet netbook. Some might scoff at the idea of a netbook, but a tablet netbook offers all the functions of the iPad along with the ability to shoot tethered in the field, offload new images, and isn’t restricted to draconian DRM rules.

In short, Im officially recommending that photographers abstain from buying the iPad for at least the foreseeable future, at least for professional uses beyond a portable portfolio. With that being said, I have a good feeling, given the past, that Apple will rapidly make strides to enhance the iPad to a level where photogs might be able to get enough use from it to justify the price tag. But until then … enjoy that new prime lens.