Olympus OM20 Vintage SLR 35mm Film Camera with f/1.8 50mm Prime Lens

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I must admit, that although these results were not what I was after, they made for some great story telling. 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. Then there’s also the incredible T Power Control and the T-8 and T-10 ring lights, for macro. The T-8, in particular, remains unique. It featured a radially-directed flashbulb that flashed into a large aluminum reflector — think “beauty dish for bugs.” There’s also the T-28 twin flash, but the T-8 remains unique. You can always tell a macro shot done with that flash! This is kinda ironic for me. In my youth days as a photographer (late 80s to early 90s), the latest Minoltas were way out of my league, especially price wise. Their SLRs were the kings of auto focus but as I’d never be able to afford one, I never gave them serious consideration. I certainly never thought I’d own one. While not well known to consumers, the focusing screen for the OM10 is indeed interchangeable, though not as easily as the OM-1. It shares the same focusing screen as the OM-1, but the extra protruding tab needs to be cut off as the OM10 doesn't have a placeholder for it.

The OM-20 came with a sensor that measured the light reflected off the film. Opposed to the previous methods that measured light entering the exposure chamber, the OM-20’s approach was more accurate. The differences between the OM2 and the OM2N are negligible, and you likely won’t notice them in use.”

Olympus OM20

I can’t recommend this camera enough to anyone. It doesn’t matter if you’re well experienced, or a beginner, everyone should give the OM System a try. The OM-G is an excellent camera to learn on, and is reliable enough for any professional to enjoy. Plainly put – it’s a camera that just works, and gives great results.

The final SLR for this post was recently gifted to me by my wife. It had been her high school camera when she studied art, and then put away. Well, actually it saw more use as a bookend and I can see why. Weighing in at one kilo, the body and combined 50/1.8 is a tad hefty, and even feels heavier than that when first handled. But after a while, it just seems to become lighter in the hand. This camera feels like quality. This camera is the Canon FT QL. This camera is currently my favourite camera! Canon FT QL – now this is a camera I likephouphou "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. The camera benefits from a fairly excellent viewfinder, offering 97% of the actual photo field and a split-image focus dot. Unique to the OM-2, the viewfinder features dynamic indicators for exposure; when in manual mode the viewfinder displays an exposure index, in aperture priority mode it displays a shutter speed indicator, and it displays a small emblem to indicate usage of exposure compensation. The whole thing is presented via transparencies and needles, and this delightfully analog display reminds the shooter that they’re using a charming, vintage machine. Let me explain - I bought an Olympus OM-20 when they originally came out, sometime in the early 1980s. I'd just started work at Marconi Instruments in St Albans, and could afford to buy a 'good' camera to replace my aged Petri MF-1. The one I really wanted to get was the Olympus OM-2, but that was just too expensive, so I settled on an OM-20 with a 50mm f/1.4 lens instead. While the crop factor of MFT format cameras boosts the telephoto abilities of lenses, it makes the design of ultra-wide optics more of a challenge. The M.Zuiko 7-14mm f/2.8 Pro is a remarkable wide zoom lens with a minimum focal length of just 7mm, delivering an astonishing 114-degree viewing angle, similar to using a 14mm lens on full-frame cameras.Like other lenses in the Pro line-up, it’s immaculately turned out, with fabulous build quality. Contrast and sharpness are outstanding, while color fringing and distortions are negligible. As with many ultra-wide lenses, however, the hood is built-in so there’s no filter attachment thread.

Unlike the viewfinder needle in its predecessors, this camera uses LED displays to show the shutter speed and exposure compensation.While the bokeh is fun to play with, I’m pleasantly surprised at how sharp these lenses can be when they’re stopped down. While I do love the shallow depth of field and lots of bokeh, there’s something about a crispy shot of an old car that just gets to me. Final Thoughts FILM ADVANCE: Lever type with 130° angle for one long or several short strokes. 30° pre-advance angle. Motor drive and winder units attachable. OM concept, history, instructions and manuals for OM cameras, lenses and accessories on Hans van Veluwen's Unofficial Olympus OM Sales Information File