I have a zero waste policy, something that is likely a reaction to the rampant waste I have been guilty of for many years.

For far too long I bought and sold, completely out of proportion to my use or need. I lived in a world of hypothetical scenarios and fanciful non-accomplishment. People loved my cast-offs, which were often mint/boxed and way too cheap.

The turning point came with M43, or the EM5 Mk1 to be precise.

I bought one after a couple of Pen cameras wet my appetite to support the meagre lens options available about the same time I bought the 5DIII and some more EF-S lenses for my crop frame Canon cameras.

The 5DIII and lenses lasted a weekend, traded back for another EM5 and some more M43 glass.

Never looked back.

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The “shutter savers” first, cameras that spare more specialised cameras each time I use them.

EM5 Mk1 (1-4)

The EM5/1’s are pretty worn out now. Two are basically dead, two a bit twitchy, but get use for personal projects, as a third camera or for possibly camera killing situations. The images out of these older cameras still hold up and why not?

They produce clean, sharp and flavoursome, almost “filmic” images that often strike a chord with viewers. I would not bother with them now for sport or high pressure jobs, because why would I with so many specialist options available.

EM10 Mk2 (2)

My little givers are for me basically my EM5/1 replacements. Often used for travel, jobs around small children, because they are cute and silent, something the EM5’s lack. One has lost the ability to show its LCD when it is used horizontally, but otherwise, not a hiccup. They are also my lucky event cameras, school balls and the like.

Pen Mini

The little red camera will likely be my last working copy of the older EM5 sensor, the camera itself is often used to distract little ones, other people when I am street shooting and if I need to let someone else use one.

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The more serious stuff now.

Pen F

This special camera is mine, all mine! Ok they all are, but this one is a little protected, so I use it mostly for studio portraits or my own landscapes (it uses an old plunger style cable release and the grip is an Arca-Swiss tripod mount).

It is not weatherproof, particularly fast, has no focus tracking, suffers from poor silent shutter banding, forgettable video options (no Mic option), generally performing much like an EM5 or 10, but it feels special and the images are the best of that older, non-phase detect enabled sensor.

EM1 Mk2 (2)

The EM1’s have been my work horse cameras for stills particularly. They have both had a flogging and will continue to, but the key is sharing the load with all the others, so they get a decent rest when I can spare them.

G9 Mk1 (2)

The Panasonic G9/1’s are the “other” work horse cameras, but with a video lean. I prefer the way these handle, the layout and for some jobs the lighter and brighter colours, but to be honest unless video is a possibility, it is an either-or thing with the above. One of these is my most battered camera, the other hardly touched on a reserve video roll.

EM1x (2)

The “X’s” are my sports cameras, which also stretches to events and really important stuff. These handle similarly to the G9/1’s and the image quality is close especially in low light. I especially like the responsive thumb nubbin and selectable focus zones (3 tall/wide with limited selection bands my preferred). Dated now, they still hold up and are built to take a lot. If the EM1/2’s and G9/1’s had a love child…. . This is possibly the most under rated and cheapest pro camera on the market (remember it comes with a free built-in grip and two batteries and chargers), I bought my last one mint second hand for $1300au.

G9 Mk2

An upgrade across the board, the G9/2 is a video camera first, but if I need next gen stills it can be used. All up, this is my best camera. It has much deeper video specs than the S5 and is better in every other respect than most of the other cameras above, especially on balance.

S5 Mk1

The dreaded full-frame that had to be (or not?), the S5 is the second video cam, or the first if extremely low light or “full rig” and interview style video is wanted. The G9/2 is the more versatile camera over all, but the S5 has its uses and I may even add another (or a Sigma FP) as I am feeling the pressure of too many full frame lenses. As a stills camera, it is excellent and can be used for the very worst light, but so far I have not needed it.

I am still on the fence here. My fear is I will eventually succumb to full frame fever, something I know is not needed, but it is nice to have to option and the lenses I have picked up for L mount have been fun and cheap on the whole. If I had my time over I would have bought one or the other lens kit (S-Primes or Cine).

OSMO Mk1

Now so very much “old news”, this is still capable of 4k/60p as a decent gimbal option. It is also my underwater and high places camera. I need to use it more.

The point is, no camera is useless. Even a dated, technically challenged camera with a small sensor even, can produce images that satisfy clients. They don’t need or often want to know the why and how, but of course showing them the camera before can be unwise.

Generally, working for the school again, I use a G9/1, EM1/2 and EM10/2, each with a lens mounted and a couple of other lenses to round out the needed range, but I would rather grab a small, dated, cheap camera, set up to work with a specific lens, than change a lens mid stream.

The usual use case for each is;

G9.1 with Olympus 12-40 for stills and video. Occasionally now this is the 8-18 if I do not want to carry a bag or the light is decent.

EM1.2 with a long lens as suits (45, 75, 40-150, 75-300).

EM10.2 (or EM5/1) with a fast wide like the 15 or 17mm (the 12-40 may have a ND filter mounted for video, so this backup is much less fiddly than changing lens/filter etc).

I can duplicate these three cameras and effectively the lenses.

The 9mm is usually packed in the bag, sometimes the 30mm Sigma or the 25mm.

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Why not an EM1x or G9.2?

No need.

These are kept for specialist jobs and a future when the EM1/G9 pairing and its second take ware out.

If you know your camera like an old friend and use it appropriately, no matter how old or limited, you are better off than someone struggling to get to grips with a new super camera.

The same goes for lenses.

I have no fear using the 12-60, 40-150 and 75-300 kit level lenses if lens speed is not an issue and the very best* AF is not critical. This means I can drop one in a bag that probably has little need of the range, just in case.

The f1.7 and 1.8 primes are like this also. You cannot complain with a straight face about their quality, so their tiny size is just a bonus. Throw a couple in your bag, a half dozen even.

*My 75, 40-150 f2.8 or f4, 300 f4 and the old 12-40 seem the best I have.