Olympus is one of the earliest names in photography and has produced a few of the most iconic cameras of the past. Its existing cameras are fairly iconic also, as it’s stuck with the streamlined Micro Four Thirds format it helped pioneer and makes some of those best mirrorless cameras, while other makers are trying for bigger APS-C and full-frame sensors.
Top 10 Best Olympus OM-D E-M10 Black Friday Deals 2019
This choice from Olympus, however, means that it continues to produce not only some of the best cheap cameras but also some of the most affordable professional cameras and micro four-thirds lenses Here is the principal benefit of the Micro Four Thirds format; good picture quality housed in camera bodies which are physically more lightweight and compact.
Olympus cameras are broken up into three categories. The OM-D line harks back into the OM line of movie cameras, including SLR styling and an advanced digital viewfinder, which are aimed at enthusiast and professional photographers.
The main class is that the PEN set of cameras, which feature a more’camera’ style of construct that omits a viewfinder. PEN cameras are especially stylish, which makes them coveted by the fashion-conscious.
Olympus’s third category is the Tough line of cameras, also contained in our listing of best waterproof and underwater cameras. As they made to function as cameras that can be Utilized in virtually any environment, these do not have interchangeable lenses; they’re dustproof, crushproof, watertight, shockproof and freezeproof
1 Olympus OM-D E-M10 Mark III Camera Kit Black Friday Deal
The Olympus OMD EM10 Mark III is a feature-packed, friendly, cheap and compact camera that’ll satisfy novices and more advanced photographers alike. It might at first glance appear to be a minor refresh over its predecessor but the upgrades significantly enhance what was already a persuasive camera. Respectable 4k video is not just gained by the Mark III, but now presents its wealth of shooting modes at a more accessible method.
Meanwhile, it inherits the viewfinder, tilting built-in stabilisation touchscreen and superior controls of the Mark II. The flaws remain the same too: also the 16 Megapixel resolution sounds obsolete and it struggles to stay focused on fast areas. The autofocus is fine if you mostly shoot subjects that are static though, and the resolution is adequate for most scenarios. It’s an attractive camera that’s enjoyable to work with and delivers results in situations easily while offering plenty of space to grow.
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It uses the 16 megapixel Four Thirds sensor as the E-M5, though does not provide the weatherproofing of that camera. From the E-M1 it has assembled in Wi-Fi connectivity along with the most popular VII image processor. Clearly, genetics that’s quite competent is leant on from the E-M10.
It is targeted to a somewhat more serious or growing photographer, rather than a snapshooter, although the E-M10 doesn’t have all the enthusiast trimmings of this E-M1. With a variety of controls control wheels and a built-in viewfinder, it is directed toward the photographer who would like to shoot at some control over preferences, even though it does have a car mode for shooters.
It presents all of the light-and-compact advantages of Micro Four Thirds, utilizing a few more SLR-like pieces (viewfinder and manual controls) that an enthusiast will appreciate.
The E-M5, the first of Olympus’ OM-D models, impressed us a wonderful deal as it had been established, and struck a chord with our readers – winning our camera of this season’ survey. And the reason behind the delight? A mix sized sensor and a set of controllers that offered an enthusiast encounter. Overall it was the coherent mirrorless and full camera we had seen up until there.
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You’ll see that the E-M10 is basically a but with the capability to send off pictures to a wise device and a far better rear display. And that’s a fairly accurate method of looking at things. But simply looking at what is new or unique risks downplaying is taken over in the E-M5.
Despite its rather modest (mid-size DSLR degree ) pricing, the E-M10 keeps not just a full twin dial controller setup, giving you plenty of direct access to vulnerability settings, but also a touchscreen which will help make it quick to change secondary preferences (gradation, white balance, ISO, etc.). With all the advantages and disadvantages that brings, Olympus hasn’t made any moves dumb-down or to simplify its menu system, as usual.
In the negative column, it is possible to see that the E-M10 overlooks the E-M5’s 5-axis stabilization – which means it is not quite as powerful (especially if shooting close-ups). The camera mechanism, meanwhile, allows a maximum shutter speed of a second, in the E-P5 contrast to the 1/8000 sec offered by Olympus’s most versions and E-M1. The good news is that we didn’t find it to be prone to the image shake that can happen with the PEN E-P5.
The E-M10 does without an AP2 attachment port, but this isn’t necessarily a massive downside – with the exclusion of this SEMA-1 stereo mic alternative, the majority of the accessible accessories are not terribly applicable for E-M10 owners thanks to its built-in EVF and Wi-Fi.
However are rather nice – the rear screen is a noticeable improvement, as is the addition of the adaptive Brightness’ viewfinder technology introduced at the E-M1. This brightens and darkens the viewfinder panel, dependent on the lighting requirements. Because of this, the viewfinder ends up being bright at the light that is bright without then being blinding in reduced light.
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It resembles a somewhat larger version of its predecessor and the key changes are on the user interface (UI) and menus, in a goal to make the camera accessible to comparative newcomers to photography.
With a few alterations to the ergonomics and a chip, it is a minor upgrade to the Mark II, from a hardware perspective. However, the UI modifications do create a number of its attributes that are smarter easier to get at.
16MP Four Thirds CMOS detector with no AA Filter
5-axis picture insertion (4 stops of correction)
TruePic VIII chip
4K movie using in-body and electronic stabilization
8.6 fps continuous shooting (4.8 fps with constant AF)
2.36M-dot digital viewfinder
1.04M-dot tilting touchscreen
330 shot-per-charge battery lifetime (CIPA standard)
Past the efforts to produce its own manners that are technical and the E-M10 III simpler to use, 4K video is brought by a processor. Impressively, the camera can give a blend of digital and mechanical stabilization in 4K style (most cameras may only stabilize 1080), providing uncannily smooth footage, even if moving the camera about.
Beyond that, the Auto mode of the camera has been reworked so it tries to discover movement to help it pick the ideal settings for shooting. Overall it is an upgrade that is subtle, however, calling it that the OM-D E-M10 II Mark II will be absurd.
Even though the E-M10 III is your entry-level to the OM-D collection, it is a camera that is clearly. Its profusion of direct controllers make it a camera with loads of room to develop into and, in spite of all the job done to facilitate access to its entire set of attributes, it feels just like a camera directed at individuals who wish to do far more than simply point and shoot.
Therefore, it falls somewhere between Sony’s a5100 and a6000 versions (offering the signature ease-of-use of the prior with the hands-on charge of the latter). It’s pricing additionally puts it straight into rivalry with all Canon’s EOS T7i (700D) and Nikon’s D5600. The GX85 of Panasonic is the other camera in this class reviewed, as well as the Four Thirds peer.
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Together with the OM-D E-M10 Mark III, Olympus has made a fine camera that’s more interesting than it might initially appear. It may not look radically changed compared to its predecessor, but the 121-point AF system provides finer control over precisely where in the scene you want to concentrate, whilst 4K video recording supplies more detailed footage than Total HD — even if you are only viewing on an HD display. Most of all, the overhaul of its own interface gets the camera far more approachable and simple to use, not only for novices but also for experienced photographers also.
At this price point the E-M10 III’s major competitors are entry-level DSLRs like the Nikon D5600 and Canon EOS 200D, or mirrorless versions such as the Panasonic Lumix GX80 or the ageing, but still very competent Sony Alpha 6000. If you decide to speed these cameras based on their raw image quality, then its own rivals undeniably have the edge concerning resolution and high-ISO noise. The Nikon D5600 and Sony Alpha 6000, in particular, will also do a better job of keeping an eye on attention on moving subjects. So if these factors sound important to you, the E-M10 III won’t be your very best option.
However, to judge the camera mostly on these factors could be a huge mistake. It’s considerable charms all its own: a compact and easy-to-use design, superb viewfinder, and class-leading picture stabilisation that goes a long way towards making up for the sensor’s technical cons in real-world use. Crucially, it generates lovely JPEG images directly out of the camera that is always more appealing than those out of its most important competitors. If you’re planning on building a system up, Olympus also makes a wide assortment of relatively affordable, lightweight lenses which are well-matched into the E-M10 Mark III, also you are able to use Panasonic lenses also.
The upshot is that the Olympus OM-D E-M10 Mark III resembles a great selection for smartphone photography fans who want to upgrade to their first’proper’ camera. But it should also be a competent second body for owners of higher-end OM-D models — although for seasoned Olympus users, perhaps it doesn’t offer you that much benefit within the Mark II.
It might not be the ideal camera at this price point, but it looks great, takes stunning images and is a joy to work with — and that’s not a bad combination at all.
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Its compact size makes it effortless to pack and carry. This is a requirement for somebody like me that has four little kids and is constantly on the move. I was able to easily hold the camera with just one hand while holding one of my kids from the other.
The Olympus Mark III boasts a very attractive, classic design. Its simple touch screen makes it effortless to use, especially since you’ve got the ability to tilt it.
The ISO is readily accessible from the back of the camera. Both the shutter speed and aperture may quickly be corrected by dials on the top of the camera.
This camera is fast, which of course is another wonderful bonus. Using its 6-fps high-speed sequential shooting, I am in a position to catch fleeting moments without missing a beat.
I really like to shoot with wide-angle lenses inside, and the Olympus 17mm is a wonderful option when working in tight spaces. It is extremely lightweight, sharp, and fast, making the portable Olympus OM-D E-M10 Mark III easy to shoot with all day long.
The 121-point AF covers a broad focus area, which is great because I’m often working together with quick-moving children; I want a camera that will be quickly and tack sharp.
The LCD screen will display green focusing frames while pressing the shutter halfway when utilizing S-AF (my preferred mode). This tells you which areas of the framework will be in focus. I found this extremely valuable.
I didn’t shoot with the C-AF often since I found S-AF very accurate, but a continuous mode is a great option when tracking a fast-moving subject.
I was readily able to picture my sleeping daughter without waking her by using this feature.
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With the launch of the E-M5, Olympus harks back to one of its fondly-remembered camera systems – that the Olympus OM range of 35mm SLRs. The E-M5 is the first camera at an OM-Digital lineup that will run together with the PEN string and, according to the company, its Four Thirds versions. For reasons of clarity, it should be stated that this isn’t a continuation of the old OM line – that the OM-D models won’t be SLRs and are located around Micro Four Thirds, maybe not OM lens mounts. However, they don’t emphasise the spirit of the much-loved camera – a little, well-built camera made for enthusiasts. And, particularly in black and silver kind, the E-M5 is one of the best-looking cameras we have encountered in some time.
It would be easy to dismiss the E-M5 as simply an updated E-P3 with an integrated viewfinder, but would rather miss the point. It provides greater capability than the organization’s range-topping E-5 DSLR in a compact body with the timeless styling of this OM range. It also echoes of the E-620 – the little, photographer-focused camera which us, made sense of the Four Thirds concept. Its magnesium metal body also manages to incorporate exactly the exact same extensive weather sealing that the E-5 provided – complementing the similarly-sealed M.Zuiko Digital ED 12-50mm 1:3.5-6.3 EZ lens the company announced on December 2011.
However, such as this camera, it has lots of outside controllers. Twin dials protrude in the front and rear of their narrow top-plate, giving direct access to the significant shooting purposes in a way that we always hoped the top-of-the-line PENs would. The early push by producers to make beginner-friendly mirrorless cameras signifies it is still uncommon to find cameras which provide two great control dials when your hand is at a shooting grip.
The camera is constructed around a 16MP Four Thirds sensor, which our testing suggests may well be the exact same one found in Panasonic’s DMC-G3. This can only be considered a welcome step forward, as it’s a much newer and more capable detector. The detector is combined with the company’s newest, TruePic VI chip, which appears to bring the usual Olympus magical to the JPEGs. The business claims improved dynamic selection and, using a newer detector and improved processing, it is reasonable to expect much better performance concerning noise.
The company has also fully reworked its built-in image stabilization system. The new design is called 5-axis (translational movement vertically and horizontally, and rotational movement around 3 axes – shown below), in contrast to the preceding system that only adjusted for up/down and left/right spinning. If it functions, the capacity to correct for rotation around the lens axis caused by pressing the shutter button offers a definite advantage over in-lens stabilization systems. Meanwhile, the correction for translational moves promises more effective stabilization for macro photography at high magnifications (like Canon’s’Hybrid IS’). The machine continues to work in video. Although none of these systems is inherently first, this is the first camera we’ve seen to incorporate all of them at one time, we look at its effect on the functionality page of the review.
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If you value both speed and portability — combined with image quality — the Sony a6000 is the best choice among the latest mirrorless cameras.
It has been quite a few years since Sony released its a6000 mirrorless camera–the company now has three successors–but since the first has come down in price to around $500, it has become a fantastic camera for amateurs that want to step up to the world of interchangeable lens cameras.
Using its 24-megapixel sensor, quick autofocus system and high-speed continuous shooting, the a6000 can normally keep pace with fast-moving subjects. If photographing kids at play in the yard or the local soccer game is your thing, the a6000 could possibly be an ideal fit. More significant, the a6000 is a strong general-use camera which delivers on several fronts, which makes it among the best mirrorless cameras you can buy, especially for novices.
Constructed of composite materials, the body is light at 12.1 ounces but feels solidly constructed. The a6000’s grip is comfortable to grip, even if you have larger hands.
Camera configurations are clearly visible, and the EVF doesn’t blackout through high-speed continuous shooting, which means you can always view your subject. Sensors close to the eyepiece trigger the camera to switch the view in the back LCD to the EVF when you raise the camera to your eye. However, the a6000’s mechanism is readily actuated when anything gets close to it.
The 3-inch, 640 x 480 LCD on the camera’s back panel tilts back up to 90 degrees and down by roughly 45 degrees. Under mild light, the LCD is bright and clear, but it’s hard to see in sunlight, in spite of the monitor brightness cranked up or the Sunny Weather style participated.
The a6000’s small pop-up flash has a reach of about 20 feet (shooting at ISO 100). It is fantastic for flash fill to illuminate backlit subjects but may sometimes overpower a shot at close distances. (You can use the flash-exposure reimbursement setting to correct the output signal ) The flash tilts up to 90 degrees to bounce off a light-coloured ceiling to be able to soften the lighting as it falls upon the subject. You can also mount one of Sony’s three external flash components on the a6000’s multi-interface hot shoe.
The a6000’s many controls and custom choices could be overwhelming at first, but they enable fans to set the camera up just right to their preferences. Featuring two dials, 1 wheel along with nine buttons, the camera’s compact body keeps nearly all in easy reach. In addition to two dedicated user-assignable buttons, other controls are also customizable. For example, an Fn button opens up an on-screen menu with your choice of up to 12 functions for easy access.
Some configurations, however, like turning picture stabilization on and off, need digging deeper into the a6000’s menu system. The dinner menus are fairly easy to navigate but are dense with choices. The biggest drawback is the miniature, red video-record button at the right side of the camera. It is tough to reach and needs so much force to press which the camera shakes when stopping or starting movie recording.