Rangefinder Magazine
September 2006

Field Test by John Rettie
Olympus Four Thirds System

Despite being over three years old, there is nothing wrong with the style of the E-1 camera, even without the optional battery pack.	The original E-1 system started with just three lenses—now there are 16, and the range is still expanding— a flashgun and a battery pack/vertical grip.

THE PAST COUPLE of years I have been fortunate enough to have an Olympus E-1 camera along with several digital Zuiko lenses available for evaluation. At first I didn’t use the camera as much as my regular Canon EOS-10D, which I purchased just before getting the E-1. I guess I was comfortable with the Canon, and its results were definitely more than adequate for my needs.

However, during the past year or so I found myself picking up the Olympus more and more and using it as my first choice. It’s been one of those subconscious things that just happened. Upon analyzing why, I realized that it’s several reasons: The Olympus is slightly smaller and lighter, it feels more solid, and you don’t have to worry about dust on the sensor. Naturally, this also meant that the quality of the images was on par with the Canon.

The Olympus E-1 digital camera system was originally announced at the Photokina show in Germany four years ago. It had been anticipated for some time, as Olympus had been hinting it would introduce a new camera system designed from the ground up as a digital camera.

Full details on the camera’s specifications were gradually unveiled during 2003, and the camera, with a 5-megapixel CCD sensor designed and manufactured by Kodak, finally went on sale in the summer of 2003 for around $2000. During the past three years it has not exactly set the digital photography world on fire in terms of sales. On the other hand, neither has it proven to be a dud. In fact if you read opinions by its owners, you’ll notice they are very enamored by the camera system.

The whole raison d’etre for the E-1 and subsequent Evolt consumer models is that everything was designed specifically as a digital system. Rather than make the camera body compatible with existing lenses, Olympus took the opportunity to engineer the camera and lenses to meet the unique characteristics of digital capture compared to film. The key aspect of the design is that a sensor produces the best image quality if the light rays passing through a lens fall perpendicular to the surface of the image capture device at all points. Up until now this has not proven to be too critical, as the capabilities of current 35mm film lenses has exceeded the quality capabilities of the image capture device, whether it be a CCD or CMOS sensor. Essentially Olympus has taken this opportunity to start with a clean sheet to design this camera system.

A brief recap: Olympus, along with Kodak, Panasonic and some other manufacturers developed this new system and they called it the Four Thirds system, which is named after the antiquated way of describing the size of the chip, which dates back to earliest days of video cameras! Essentially the consortium has standardized the system around this 18x13.5mm chip, as well as the use of a standardized lens mount, which is available to any lens manufacturer. The sensor is slightly smaller than the APC sized sensors found in the majority of digital SLR cameras such as the lowest priced Canon digital SLRs and the Nikon range of digital cameras. The multiplier effect is 2X for Olympus, compared to 1.5X for Nikon and 1.6X for Canon.

Cars can fly—at least George Georgakopoulos did in his Subaru WRX as he drove at speed over an artificial mound on the 2006 Subaru Rim of the World Rally in Lancaster, CA. (Olympus E-1, 50–200mm lens at 77mm; 1/500 at f/7.1 at 100 ISO)	Bristol Ann-Vanessa Keele, known as Gravel Girl, powers her Subaru Impreza around a turn in gloomy weather on the 2006 Subaru Rim of the World Rally in Lancaster, CA. (Photo shot by Nick Rettie, Olympus E-1, 14–54mm lens at 36mm, 1/400 at f/10 at ISO 400)

In theory, the smaller sensor size allows for smaller lenses for any given focal length, as they do not have to cover such a large area. Remember that only the center portion of the lens coverage of a 35mm film lens is being used on a digital camera body with a chip smaller than a frame of 35mm film.

A look at the E-1 camera will show that the mirror is much smaller than in a 35mm-based camera body. However, the mount size is much the same size as on a Nikon camera but smaller than that on a Canon EOS camera. At present, Olympus has 16 lenses on the market, ranging from 7mm–300mm.

While most are slightly smaller and lighter than the equivalent 35mm-based lenses, the massive 300mm f/2.8 Zuiko lens weighs in at 7 lbs., which is actually heavier than a Canon EF lens with the same specs.

In use, the E-1 camera handles well; it has a big hand grip and a natural thumb grip that does not obstruct any dials or buttons. The camera is nicely made with a semi-weatherproof black finish over a magnesium alloy frame, which gives it a solid, robust feel.

One of the most intriguing advances in the E-1 is the sensor-cleaning system that is only just now being adopted by other manufacturers. I can vouch for its effectiveness, as I have never once cleaned the sensor. Despite three years of tough use, including photographing off-road races in the desert, there is no sign of any dust specs in photographs. In my view it’s proof that the system works. It’s encouraging that Sony has finally become the second manufacturer to offer a similar system to keep dust off the sensor. Obviously, Canon and Nikon are going to have to offer the same benefit on their cameras if they want to remain competitive.

Overall the camera is reasonably speedy in operation. It is rated at 3 fps with a buffer of 12 frames. This places it squarely among high-end consumer bodies such as the EOS 20D. During a photo shoot at a Formula One race, the camera proved adequate, but not as fast as one would require if shooting such high-speed events regularly. I’d rate the camera as being more robust for professional use than a Canon EOS 10/20/30D or 5D, but not as tough as a Canon EOS-1D series or a Nikon D1 or D2 series.

During the time I have been shooting with the camera, I have had the opportunity to use several lenses. My favorite is the 7–14mm (a 35mm equivalency of 14– 28mm), which is as wide as any zoom on the market. It’s also well made, as I proved when I tripped and it hit a concrete curb— it survived, albeit with some cosmetic damage. The attached Evolt E-300 body I was using at the time also survived. The other lens I am fond of is the 50– 200mm f/2.8–3.5 zoom, which is ideal for auto racing photography, being equivalent to a 100–400mm on a 35mm camera.

A VW Race-Touareg makes easy work of the soft sand during the 2004 UAE Desert Challenge near the Saudi Arabia border. (Olympus E-1, 50–200mm lens at 50mm, 1/500 at f/7.1 at ISO 100)	An exhausted motorcycle racer tries to get his KTM out of the sand in the 2004 UAE Desert Challenge near the Saudi Arabia border. (Olympus E-1, 50–200mm lens at 56mm, 1/400 at f/8 at ISO 100)

Overall though, the E-1 is showing signs of its (technology) age. It lacks some modern features such as a large rear LCD monitor and automatic rotation of images. The battery also drains more quickly than in newer cameras.

Of course, the bottom line is the quality of the images the camera produces. Skin colors in particular are very good. In all honesty, it’s difficult to say images are any better or worse than those obtained with other cameras in the 4–6MP range. Indeed, at ISO ratings above 400, the image quality is not as good as that obtained by the EOS-10D. Considering this is a four-year-old camera design, its quality is surprisingly good, and for the price it cannot be beat as long as you don’t need high ISO or more than 5MP picture size.

Olympus has also introduced several consumer models, called Evolt, along with some less expensive lenses in the past couple of years. Although the total lens range is not as extensive as those from Nikon or Canon, it covers a pretty decent range of focal lengths. Indeed, Olympus’ digital series of Zuiko digital lenses is greater than those offered as digital-only lenses from Nikon or Canon.

In 2004 Olympus introduced the Evolt E-300 consumer model with an 8MP CCD sensor. It has since been replaced with a newer model called the E-500, which sports the same sensor but has a more conventional body. In comparison to the E-1, they are not as fast in operation, so I have not found them adequate for professional use.

From a technology point of view the most interesting is the E-330, announced just a few months ago. It features a secondary sensor that allows it to offer a live preview in addition to a regular optical viewfinder. It is something one has come to expect in all consumer point-and-shoot cameras, so its great to see it migrate up to a SLR body.

The live-preview system on the E-330 is an excellent first attempt at producing such a system for digital SLR cameras. It’s a little clunky in operation but I’ll bet Olympus incorporates such a system in the next generation of the E-1. For photographers who do a lot of close-up photography or underwater photography, this could be a camera well worth waiting for.

An overweight squirrel stuffs more acorns in its mouth on the Monterey peninsula. (Olympus E-300, 50–200mm lens at 200mm; 1/800 at f/8 at ISO 400)	Judges at the 2006 Pebble Beach Concours d’Elegance discuss details. Auto buffs will recognize Sir Stirling Moss in the center and Chris Bangle, BMW’s controversial chief designer to his left. (Olympus E-300, 7–14mm lens at 8mm; 1/100 at f/7.1 at ISO 400)

One area that Olympus seems to be excelling in is upgrading the cameras via firmware. During the time I’ve had the E-1, there have been a couple of minor tweaks. But perhaps the most significant was a recent one that could be downloaded for the E-330. It adjusted the firmware so the camera could autofocus when being used in the B setting for live preview. That was a common complaint about the operation of the dual-mode preview system, so it was great that Olympus could upgrade the camera so easily.

All in all I think Olympus’ approach to digital SLR cameras is refreshing. Of course, a manufacturer such as Olympus that does not have a range of legacy equipment or too large a body of owners can be one to bravely venture into new territories. Although the company has been way too long in introducing an updated pro-level camera to replace the E-1, it has demonstrated that it is willing to try new features on its consumer cameras. If the pace at which changes have been made on these consumer cameras is any indication of a future direction for the E-2, or whatever it will be named, it should be a camera worth waiting for.

Perhaps the E-2 will be a truly innovative camera? I have no inside knowledge of what the E-2 will be like or even when it might appear. I have a suspicion though that it’ll likely not be a “me-too” SLR.

Further Information E-1 digital camera Olympus America Two Corporate Center Drive Melville, NY 11747 (631) 844-5000 www.olympusamerica.com/e-1/

In conclusion, the E-1 is a very nice camera with a decent range of lenses that produces good images and should satisfy most users. Sadly for Olympus, but fortunately for current Canon or Nikon users, there is no compelling reason to switch systems at present, save for the reduced dust problem.

On the other hand, those who do not yet own any modern lenses from either of these manufacturers or those just starting out with a brand new system should definitely include the Olympus cameras and lenses on their list of potential purchases. At under $700 for the body and anywhere from $200 to $6000 for the current range of lenses, the E-1 is priced extremely favorably with the consumer and professional ranges from Canon and Nikon.

John Rettie is a photojournalist who resides in Santa Barbara, CA. Readers can contact him by e-mail at john@johnrettie.com or by snail-mail c/o Rangefinder.