Olympus E-P2 review

Second generation Micro Four Thirds DSLR/compact hybrid

Olympus second-generation Micro Four Thirds system digital ‘hybrid’ appears at first identical to last year’s E-P1 in both 1950s/60s design and up-to-the minute specification, incorporating 1280x720 HD video and Art Filter digital effects. It weighs the same at 335g and its dimensions, without protrusions, also match. Again, the sales pitch is that it is neither compact nor digital SLR yet incorporates the best of both. It offers photographers pin sharp JPEG or RAW files, the ability to swap lenses, yet a smaller form factor than an actual DSLR by virtue of the removal of the mirror box mechanism to bring 14-42mm kit lens and 13.1 megapixel (12.1MP effective) Live Mos CMOS sensor closer together. As with Olympus’ original Four Thirds system cameras, the 35mm equivalent focal length is double, so our zoom behaves like an 28-84mm – an increased range from a smaller package. Adapters are available for anyone wanting to use older Four Thirds system lenses with the physically smaller Micro Four Thirds cameras, for which a newly compatible range of M.Zuiko Digital optics is growing all the time.

So, while the above remains an excitingly sound idea, is the E-P2 really just an E-P1, formerly available in white or silver, ‘remixed’ in more studious black? At its heart, namely the aforementioned sensor, rock-solid build and user-friendly handling, well-labelled controls and most of its extensive but not bewildering menu options, the answer’s yes. After its predecessor’s quiet revolution, the E-P2 is a mopping up exercise, its enhancements subtle. We were initially disappointed by the continued omission of integral flash – included in its closest rival, Panasonic’s Lumix DMC-GF1 – only for Olympus to announce the more affordable E-PL1 (with flash) as we were completing this review.

The E-P2 however retains flagship position in the now three-strong Digital ‘Pen’ range, at a premium price. For around £849 we get camera body plus a new electronic viewfinder (VF-2) that can be tilted upwards through 90° and provides 100% field of view where the E-P1 offered only a clip-on optical viewfinder (VF-1) as an extra. If you want to avoid squinting into the eyepiece, a perfectly adequate 3-inch, 230k dot resolution LCD can be found below.

Copying the GF1, the E-P2 has slightly raised its hotshoe, compatible with the optional FL-14 flashgun, to shoehorn in a port for the EVF’s attachment beneath. This also now doubles up as means of attaching an optional auxiliary microphone. Be aware that anyone not already in possession of a compatible lens and wanting the multi purpose 14-42mm zoom with retractable design mechanism for added compactness, will need to opt for the £899 bundle – matching the outlay required for a semi pro DLR. As with the E-P1, this kit lens has to be first manually extended to maximum wide angle before switching on the camera to avoid an error message. Once done, the camera powers up for action in just less than two seconds.

To be honest if you’re a photo enthusiast with this sort of money to spend you probably already own a decent DSLR, and the Pen is best viewed as a more portable alternative that gives greater creative scope than most high-end fixed lens bridge cameras costing a couple of hundred less. Said scope has been expanded on the E-P2 courtesy of two additional Art Filters: Diorama, reproducing the distorting effects of a tilt and shift lens so human subjects appear as if citizens of a model village, plus Cross Process, which apes the wet darkroom procedure beloved of photography students. These effects are applied to an image at the point of capture, elongating writing speed by a couple of seconds, with a jerky, slow-to-refresh preview image provided up front as reference. Otherwise retaining the pop art, pinhole camera, soft focus, pale and light colour, light tone, plus grainy film digital effects from the E-P1, like its predecessor these Art Filters are at their most effective when applied in moderation and for us pinhole and diorama provide the greatest creative benefits.

Further added to the Pen’s list of specification is AF tracking, remote slideshow capability via HDMI, and HD movie capability now in M (full manual) shooting mode, clips with stereo sound retaining a top frame rate of 30fps. Also the same is a light sensitivity range that stays within safe boundaries in stretching from ISO100 to maximum ISO6400, manually adjustable via the four-way thumb pad at the camera’s rear. Apart from a large and springy shutter release button with definite halfway point at which focus and exposure is automatically determined – unless switching to manual focusing – the other control that gets the most use is the shooting mode wheel sunk into the top plate, its ridged edge slightly proud at the back. Whilst stiff to turn to each subsequent setting – the regulars of program, aperture priority, shutter priority, manual, video, scene modes, art filters and hand-holding iAuto – at least this means the user won’t accidentally jog a setting when fetching the camera in and out of a kit bag.

Having found Olympus cameras’ default settings to deliver rather cool results in the past, we were pleasantly surprised by the warmer images provided when left on the E-P2’s new i-enhance picture setting. The idiot-proof iAuto option continues to produce consistent results and, particularly when the camera chooses to opt for a landscape setting, renders blues and greens in the scene impressively vivid. However white balance continues to be slightly off, again producing warmer tones than are present in scene or subject at the time of capture. Shooting in lower light, we were able to achieve good results up to and including ISO800, and it’s only at ISO1600 that noise begins to intrude within shadow areas. At top whack ISO6400 though, detail has noticeably softened and images appear sprinkled with a layer of multi-coloured grit, though converting to black and white can rescue the shot. Not quite up there with the best of the DSLRs then, and no visible improvement over the E-P1, but for most this Pen will certainly prove sharp enough.

On the whole, whilst the E-P2 doesn’t offer the great leap forward of its predecessor, and the likes of Ricoh’s even more portable GXR plus Samsung’s NX10 are snapping at its heel, this is still an recommended camera taken as a standalone device. Offering a continuity of excellence with several fun nips and tucks, prepare to fall in love with the Pen all over again.