Dec 09

Giz Explains: What Everyone Should Know About Cameras

Posted in: feature, lenses, micro four thirds, Today's Chili, top

Talking to a camera nerd—or even reading about new cameras—can feel like translating from a different language. But it doesn’t need to! Here, in this here post, is everything you need to know about cameras, without the noise.

When you buy a camera, you’ll be pelted with specs from a salesperson, many of which are confusing, and even misleading. You will cower, and may cover your head for protection. He will keep pelting. And really, he has to—spec sheets and jargon are integral to camera marketing, at least for now. Here’s what it all means, in one handy cheat sheet.

Types of Cameras

Before you set out to buy a new camera, or even just to get to know yours a little better, you’ve got to know the difference between the different types or cameras. Here are the ones you’re likely to come across.

Point-and-Shoots: Also known as compact cameras. If you don’t know what kind of camera you’re looking for, or what kind your have, it’s probably one of these. They’re the smallest style of camera, typically—at least in the last few years—trending toward a boxy, mostly featureless shape. The lens is non-removable. The flash unit is built in. They have LCD screens on the back, not just for reviewing photos, but to use as a viewfinder as well. When you press the shutter button on a point-and-shoot, there is a slight delay before the photo is actually recorded. Many new point and shoot cameras will take video, and some even manage to record in HD.

Bridge/Superzoom Cameras: These cameras often look like DSLRs, but don’t be fooled: They’re just juiced-up point-and-shoots. They will typically come with longer lenses and slightly more impressive specs than your average P&S, and will give you a bit more photographic flexibility to play with. Sadly, they suffer from the same picture-taking delay, or “shutter lag,” as point and shoots. The problem with bridge cameras, especially now, is that in order to get a decent one you have to spend at least a few hundreds dollars, at which point you may as well get a…

DSLRs: This unwieldy acronym stands for Digital Single Lens Reflex. Narrowly, this means that the camera has a mirror mechanism which allows photographers to see through the camera’s lens while setting up a shot, and which flips up, exposing the image sensor (the equivalent to film in a digital camera). Widely, this means that the camera will have interchangeable lenses, a larger sensor than a point and shoot, and to an extent, more image controls. When you press the shutter button on a DSLR, it takes the photo instantly—no lag, like in a point-and-shoot. Many new DSLRs at mid-to-high price points shoot HD video; some manage 720p, some manage 1080p, but all turn out impressive results, if simply because of the cameras’ lenses. That said, they’re not really ready to replace proper video cameras yet, because amongother things, no DSLR to date has got the autofocus during video thing right.

These are the cameras that photographers, or people who call themselves photographers, use. They’re also the ones that are capable of taking the best photos.

As a rule, DSLRs are more expensive than point and shoots. But they’re getting cheaper. Much, much cheaper. Olympus, Nikon, Pentax and Sony all have DSLRs that can be had for under $500—and these are real cameras—rendering the entire category of bridge cameras kind of pointless.

Micro Four Thirds/Digital Rangefinder: Micro Four Thirds cameras are interchangeable-lens cameras, minus the straight-through-the lens viewfinder that defines a DSLR. In other words, they have larger sensors like DSLRs, have swappable glass like DSLRs, but use an LCD screen as viewfinderlike a point-and-shoot. This saves space inside the camera, meaning that—at least this is the theory—it can be more portable than an equivalent DSLR, while maintaining the same versatility and image quality. Most of them record video, too, and they’re pretty good at it: They don’t have the complex viewfinder/mirror system of a DSLR, so it’s technically simpler to record video. Some of these cameras are styled like DSLRs, like the Panasonic Lumix DMC-G1, while some are styled more like portable cameras, like the Olympus EP-1.

This is a small category for now, and accordingly, prices are still high, starting at about $750. Panasonic and Olympus are basically the only game in town.

Sensors

The sensor is the part of the camera that actually records the image. In other words, it is your camera.

Megapixels, and image resolution: Megapixels have been central to digital camera marketing since the beginning (it just sounds like a 90s term, doesn’t it?). A megapixel, quite simply, is one million pixels. If a one-megapixel image (or sensor) was perfectly square, it would be 1000×1000 pixels. They’re usually rectangular, at 4:3 or 3:2 ratios, which means their resolutions look more like this: 2048×1536 pixels for a 3-megapixel camera; 3264×2448 pixels for an 8-megapixel camera, and so on.

As digital cameras mature, this number means less and less—it’s easy to cram megapixels in a camera, but without good optics and light sensitivity, it doesn’t mean that it’s going to turn out an honest, clean, high-quality images at such a high resolution. My cellphone shoots at five megapixels, but the images look like screenshots from some kind of ghosthunting show. My DSLR shoots at 10.1 megpixels, but turns out images more than twice as clean and clear as my phone. My point-and-shoot is rated at 12.1 megapixels, but on close examination, its images are effectively blurrier than those from the DSLR.

If you’re planning on making huge prints, or need to crop your images a lot, a high megapixel count is necessary, but beyond a certain point, the returns are minimal. You’ll read a lot of guidance from camera manufacturers about how many megapixels you need to print different sized photos, which you can ignore, because they seem to change with every generation of cameras. Unless you’re printing billboards or in magazine or something, don’t sweat it too much.

Aside from indicating how many dots a camera is capable of capturing, megapixels can be a helpful indicator of how old a camera’s guts may be. Megapixel count has been increasing fairly steadily over the years, so within a given manufacturer’s camera line, increased megapixels could correlate to newer sensors, which could, along with high resolution, take richer, less noisy pictures.

ISO: This indicates how fast your camera’s sensor collects light—the higher your ISO, the more sensitive your camera is to light, the less light you need to take a picture. And while high-ISO capability is most useful in low light, it also comes in handy when you’re shooting extremely fast exposures in the daytime, like at a sports game. With higher ISOs, though, comes more noise—some point-and-shoot cameras advertise extremely high ISOs, on the order of 6400. Shots at this sensitivity will invariably look like ass. DSLRs, which have larger sensors that are better at gathering light, can sometimes shoot at 6400 ISO and higher without too much noise.

It might help to think of it like this: ISO ratings are actually a callback to the days of film. You used to have to anticipate how you’d be shooting, and buy film based on how sensitive it was, as expressed in an ISO or ASA rating. The ratings got carried over to digital cameras, despite film getting replaced with sensors.

Anyway, don’t buy a camera for its ISO rating alone, because there’s a good chance its top two to three settings will be useless.

CCD and CMOS: From our previous Giz Explains on the subject:

There are two major types of image sensors for digital cameras and camcorders: CCD (charged-couple device) and CMOS (complementary metal-oxide-semiconductor, sometimes also known as active pixel sensor). We’re not going to get into the really geeky differences, because you don’t really need to know or care. What you should know is that higher-end digital SLRs (the big cameras with a removable lens) use CMOS because it’s easier to make bigger CMOS sensors; and mobile phones do because CMOS uses less power. That said, most point-and-shoot cameras and most camcorders use the more common CCD sensor.

Things are a little different now, and CCDs are common in DSLRs nowadays. The difference for consumers is minimal—don’t be alarmed to see either on your camera’s spec sheet. UPDATE: As some commenters have pointed out, this isn’t quite right: DSLRs are still trending more towards CMOS sensors, including most of the latest/greatest cameras. Anyway: still more of a curiosity than a purchasing point, for most people.

White Balance: Have you ever seen a set of indoor pictures that’s totally, inexplicably orange? That’s a white balance problem. Your camera can adjust to compensate for different light temperatures—tungsten lights have that orange hue, and sunlight will turn your photos kind of blue—and correct your image’s color accordingly. Virtually all cameras let you adjust white balance with presets, though it’s best if you can adjust it manually, too.

Sensor size, and crop factor: Some cameras have sensors that are roughly the same size as 35mm film, at 36x24mm. These are called full frame cameras. They tend to be more expensive—like Canon’s 5D and 1D series, or Nikon’s D3s—and their bodies tend to be a bit bigger. Semi-pro to pro equipment, basically.

APS-C sensors, on the other hand, are what almost all consumer DSLRs ship with. These sensors are about 22x15mm, which is significantly smaller than a full frame’s sensor. Why does this matter? Larger sensors provide more room for each pixel, which makes them better at picking up light. (A bucket analogy is useful here.) More importantly for APS-C users, though, is crop factor. A smaller sensor will pick up a smaller section of what’s coming through a lens, so: A 200mm lens on a full frame DSLR becomes a 300m lens on an APS-C camera, a 50mm becomes a 75mm, etc. Of course, camera manufacturers make APS-C -specific lenses which are designed for the smaller sensors, but the listed focal lengths aren’t adjusted—they’re still 35mm-equivalent numbers. Just be aware the any given lens will shoot differently from one type of camera to another.

Optics

The optics are the the parts through which your camera sees. They’re the eyeballs, basically.

Swappable lenses: There are two kinds of swappable lenses, generally speaking. Ones that zoom in and out, which are called “zoom” lenses, and ones that don’t move. These are called “primes.” They’re all classified by focal length. Strictly speaking, focal length refers to the distance required for a lens system to focus light. In real terms, focal length roughly correlates to physical lens length, and helps indicate how much a lens magnifies an image. 18mm focal length on a DSLR is considered wide, 200mm or more would be considered a telephoto lens.

Point-and-Shoot Lenses, and the X Factor: The second most prominently featured number on your point-and-shoot’s obnoxious feature sticker is the zoom rating. It’ll be expressed as a number, with an x: 5x, 10x, etc. You’ll also see a printed range, something like 5.0-25mm, which describes the focal length of the lens. Here’s a trick: Divide the larger focal length measurement by the smaller one. The result should match your “x” zoom rating, because, well, that’s all it is: the quotient of the maximum lens length and the minimum lens length.

This is misleading labeling. Mounted on the same camera, a lens that zooms from 50mm to 100mm would be called a 2X lens, while a lens that zooms from 18mm to 42mm would be called a 3X lens, even though at the longest, it doesn’t zoom in as far as the 50-100mm lens does at its shortest. Take this equation into account when comparing point-and-shoots, but most of all, try them. You’ll see the difference.

Shutter, shutter speed, and shutter lag: You shutter is the little door that opens up between your lens and your sensor, allowing for photographic exposure. Shutter speed ranges are advertised with the intention of implying that the camera will be useful at both ends: from the 10-second long exposure to the 1/4000th-second high-speed shot. Keep in mind, for both numbers, that shutter speed alone doesn’t guarantee anything. If your camera can shoot at 1/4000th of a second, but it’s got a small aperture and low ISO rating, your shots will probably be too dark.

Shutter lag is something else entirely. You know how on a point and shoot, there’s a frustrating gap between when you press the button and when your shot actually takes? That’s it. The lower the shutter lag, the better, though many camera manufacturers don’t even bother to advertise this.

Aperture: This is the hole through which light passes after its been through part of your lens, and before it hits your sensor. The bigger the hole, the more light gets in. The smaller the hole, the less light gets in. Larger apertures allow you to take pictures in lower light situations, but only allow you to focus on a thin plane—either your background or your foreground will be out of focus. Smaller apertures let you keep more of a scene in focus but they let less light through, and require longer exposure times. Apertures are described by f-numbers—these are the ration between the width of an aperture and the focal length of a lens. The smaller the number, the larger the aperture.

Optical vs Digital Zoom: Another scourge of the camera buyer is digital zoom. Optical is magnification by your lens—in other words, it’s true zoom. Digital zoom is just your camera taking the optically zoomed image and blowing it up, like you’d do in Photoshop. It’s only useful for framing shots and sometimes helping your camera focus properly. Otherwise, it’s a gimmick: Ignore it, shoot wide and crop your shots later.

IS, or Antishake: Image stabilization is fast becoming a standard feature on even the cheapest cameras, though you’ll find some sub-$150 point-and-shoots without it. The point of image stabilization is to correct for camera movements during an exposure, which cause blurry shots.

There are two types: Digital IS, which you’ll find mostly in point-and-shoots, corrects the image with software, and can be somewhat effective, though the results are often passable, not perfect. Optical image stabilization physically moves some part of the camera to counteract shaking. In some cameras, like Nikons and Canons, the moving parts are in the lens. In most other other manufacturers’ DSLRs, it’s the sensor that actually moves to stabilize the image. Optical IS almost always works better, but it’s not magic—you won’t be able to shoot a freehand four-second exposure just because it’s on, but you might be able to keep things together for a half-second or more.

Software


“Modes,” Face Detection, Smile Detection: Your camera’s modes are assistive tools,, not hard features. They’re generally just collected presets for settings that you can adjust yourself, like equalizer presets on your iPod. They can be useful, though you’ll be a better photographer if you manage settings yourself.

Face and smile detection, again, are like crutches. Face detection guesses when there’s a human in the photo so the camera can adjust exposure, white balance and focus to make sure that said human doesn’t end up blurry. Smile detection is a crude algorithm that measures facial features, and won’t take a photo until the subjects are judged to be SUFFICIENTLY CONTENTED, by which I mean they have vaguely crescent-shaped mouth holes. It’s a good way to ensure that nobody is ruining a photo with a grimace. Also, to ensure that none of your photos are ever interesting.

Image formats: You digital camera doesn’t have film, but your photos have to go somewhere. In today’s cameras, the digitally stored photos are either JPEGs or RAW files. JPEG files are compressed, which means that they are encoded in such a way that they don’t take up much space, but lose a small amount of quality. This is how point-and-shoot cameras almost always store images, and how DSLRs store images by default, generally.

If JPEGs are like photo prints (they’re not, really, but bear with me) then RAW files are like the digital negatives. (In fact, one popular RAW format, .DNG, crudely stands for “digital negative”). Raw files contain almost exactly what your sensor has recorded, which means you can change values like exposure, white balance and coloration after taking the photo, to a surprisingly high degree. It feels like cheating! There is a downside: larger image files. And, depending on the type of RAW file—different camera manufacturers have different ones—you may need special software to view and edit your photos. Shoot in RAW if you can, and buy a camera that’ll let you. This is a huge feature.

As a bonus, most cameras that shoot RAW will also let you shoot RAW and JPEG files simultaneously, so you have a lightweight, ready-to-print-or-upload file right away, as well as the RAW source, for later editing. It takes up a ton of space, but hey, space is cheap nowadays. Spend a few bucks on a bigger memory card, and live your life.

Video: Most new cameras, including some DSLRs, shoot video. But just because your camera shoots stills at 10 megapixels doesn’t mean that it’ll shoot anywhere near that kind of resolution in motion. The standard resolution for most point-and-shoot cameras is VGA—that’s just 640×480 pixels of video, which is good enough for YouTube—while DSLRs, and some nicer point-and-shoots, record in either 720p or 1080p, which are HD resolutions, which translate to 1280×720 pixels and 1920×1080 pixels, respectively.

Storage


Point and shoot cameras usually come with a small amount of onboard storage. This, I’m about 100% sure, is there so that the camera technically works when you buy it, making your inevitable extra storage purchase seem more like a choice, and less like a mandatory camera tax. Anyway, with any camera, you’re going to need to buy some memory, or storage.

There are a few peripheral memory card formats still kicking around (Sony, can you please just put Memory Stick Pro out of its misery? Thanks!) but there are only two that matter.

SD: Also seen as SDHC, or SDXC, these little guys are the card of choice for point-and-shoot and bridge cameras, and some newer DSLRs. They’re small, they works fine, and they’re available in just about any capacity you could ever want. Almost: Most cameras are only SDHC-compatible, a standard which maxes out at 32GB. SDXC, the next evolution of the SD standard, maxes out at a theoretical 2TB, though almost no cameras support it yet.

Compact Flash: These cards are chunkier, can be faster, and are more durable, and anecdotally less prone to temperature and weather damage. These are what you’ll find in DSLRs.

Speed ratings: Memory cards come in different speeds. These are advertised in a variety of different ways, for no good reason. You’ll see a couple of numbers on most cards, in the “133x” syntax. Ignore them—they are inflated, unregulated and therefore, basically meaningless. What you’re looking for on SD cards is a Class rating, from 1-6. The official SD Association chart:
For Compact Flash cards, your best bet is to look for an actual transfer speed on the card, expressed in MB/s.

Further Reading


Reviews: One gadget blog, try as we may, can’t cover the hundreds of cameras that come out every year. We’ll leave that to the obsessives. See:

• DPReview

• The Photography Bay

• Photography Review

• Photo.net

You really shouldn’t buy a camera without consulting these guys first. They have a habit of lapsing into jargon at times, but hey, if you’ve read this far, you’ll be able to get by.

Taking Photos: So now you’ve got your new piece of neck candy, and you feel awfully cool. You know what would make you cooler? Learning how to shoot, for god’s sake. A few of out recent guides:

• The Basics: Your new camera has been removed from the box. It has been fiddled with. You cat has been photographed multiple times. Now what?

• When Not to Use Flash: The answer: Pretty much always.

• How To Shoot HDR: Taking hyperreal photos by combining multiple exposures, without, as we call it, the “clown vomit.”

• For general advice, Photo.net‘s comically extensive set of photography guides provides instructions for virtually any scenario. Need to shoot some, say, nudes? In, say, Namibia’s uniquely harsh sunlight? They’ve got you covered.

And although broad guides are useful, I’ve learned more about photography and cameras from Flickr than any other resource. Join the Flickr group for your camera, and spend some time on the message boards. You’ll learn clever tricks for getting the most out of your hardware, but in doing so, with the help of a gracious community, you’ll learn just as much about photography as a whole.

Still something you wanna know? Send questions about DSLRs, P&Ses, B&Bs or BBQs here, with “Giz Explains” in the subject line.

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Dec 09

Olympus PEN E-P2 gets reviewed and starts shipping out

Posted in: available, camera, digicam, digital camera, DigitalCamera, dslr, micro four thirds, MicroFourThirds, now shipping, NowShipping, olympus, review, reviewed, ship, shipping, ships, Today's Chili

We’ve already expressed our opinion on the PEN E-P2‘s price point (hint: it’s not positive), but for those with more cash than problems to throw blank checks at, Olympus’ second-ever Micro Four Thirds camera is now on sale and shipping from a wide variety of respected e-tailers. Just in time for the holidays, don’tcha know? If you’re still wondering if $1,099.99 is worth blowing on this, The Online Photographer has published an hands-on critique, complete with a few luscious sample shots and interesting gripes about the viewfinder. Make no mistake — the image quality looks fabulous, but man, that MSRP. It’s large.

Olympus PEN E-P2 gets reviewed and starts shipping out originally appeared on Engadget on Wed, 09 Dec 2009 09:27:00 EST. Please see our terms for use of feeds.

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Nov 24

Olympus Pen E-P1 spoiled by Swarovski

Posted in: luxury, micro four thirds, MicroFourThirds, olympus, Today's Chili

You know how to ruin a luxurious shooter already steeped in fine retro-styling? Slather on the Swarovski crystal, that’s how. This £1,999 CrystalRoc bastardization of Olympus’ E-P1 Micro Four Thirds wundercam more than doubles the price of the de-iced original. So sad… then again, maybe you like it.

Olympus Pen E-P1 spoiled by Swarovski originally appeared on Engadget on Tue, 24 Nov 2009 08:20:00 EST. Please see our terms for use of feeds.

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Nov 22

Olympus’ $1,100 PEN E-P2 up for pre-order, played with early

Posted in: amazon, camera, digicam, dslr, micro four thirds, MicroFourThirds, olympus, on sale, OnSale, pre-order, Today's Chili

Olympus’ PEN E-P2 is destined to be a fine product, we’re sure. What we aren’t sure of, however, is how exactly the company came up with the nearly laughable MSRP. The second-ever Micro Four Thirds offering from the outfit is up for pre-order right now at Amazon, though the $1,099.99 asking price is just far too lofty for us to recommend snagging a place in line. That said, you’re still probably interested in learning more about the device, so we’ll be pointing you in Gadling‘s direction for that; the crew over at our favorite travel blog managed to snag one of these buggers early, and exterior color aside, we’re told that it looks practically “identical to the E-P1.” Hit up the links below for a closer look — just keep your credit card far, far away until we see a full review.

[Thanks, Misael]

Olympus’ $1,100 PEN E-P2 up for pre-order, played with early originally appeared on Engadget on Sun, 22 Nov 2009 07:43:00 EST. Please see our terms for use of feeds.

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Nov 05

Olympus E-P2 official, patches over E-P1 problems and jacks up the price

Posted in: breaking news, BreakingNews, micro four thirds, MicroFourThirds, olympus, Today's Chili

Functionality-wise there’s not much to complain about the new Olympus E-P2, and in fact it pretty much exactly addresses all the primary issues with the E-P1. The main physical difference is an accessory port right behind and below the hot-shoe, which allows for plugging in the new VF-2 Electronic View Finder, or alternatively the EMA-1 audio input module. We would’ve preferred to have both simultaneously, but we’ll take what we can get. In movie mode the camera now supports full manual shutter and aperture control, and the new Continuous Autofocus tracking system works both for stills and for video. The E-P2 has a new black paint job, but otherwise seems mostly unchanged, with just a few effects and a new “iEnhance” color adjustment mode rounding out the new features. Olympus will actually sell both of these micro four thirds cameras simultaneously, but here comes the real kicker: the E-P2 will retail in kit for for $1,099, a whopping $300 more than the E-P1 — less than the comparable GH1, but still more than an entry-level DSLR. That cash gets you either an ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens or a 17mm f2.8 Zuiko Digital Zoom Lens, and both versions come with an Electronic View Finder standard. Check out the full PR after the break.

Gallery: Olympus E-P2 official

Continue reading Olympus E-P2 official, patches over E-P1 problems and jacks up the price

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Olympus E-P2 official, patches over E-P1 problems and jacks up the price originally appeared on Engadget on Thu, 05 Nov 2009 01:01:00 EST. Please see our terms for use of feeds.

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Nov 05

Olympus E-P2: Flashier than the E-P1, But Still No Flash

Posted in: micro four thirds, olympus, photography, Today's Chili, top

If there’s one wonderful thing about the newly announced Olympus E-P2, it’s that it will probably make the E-P1 cheaper. If there are two or more wonderful things…well, read on.

The Olympus E-P2 is less a sequel to the E-P1 micro four thirds camera and more a refinement of the original idea. It’s basically the same size as the E-P1 (a hair taller, actually), and snaps shots with the same 12.3MP sensor. There’s still no integrated flash, and the retro stainless steel body has been coated with black paint (not having seen the E-P2 in person, I still think I may prefer the original) much like the similar Panasonic GF1.

What’s new is an accessory that will come standard in every kit configuration—an articulating VF-2 electronic viewfinder that attaches to the hot shoe mount. It takes advantage of a new, still-unnamed accessory/data port, meaning it’s incompatible with the E-P1.

This accessory port also allows for a new stereo microphone mount that will move sound capture a bit away from the camera’s body.

Maybe the biggest real improvement, however, is a Continuous Autofocus (C-AF) Tracking System that follows subjects through the frame, hopefully addressing one of the E-P1’s greatest weaknesses, its long focus times.

The E-P2 will be available this January in two equally priced kits.
E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens and EVF: $1100
E-P2 Body with 17mm f2.8 Zuiko Digital Zoom Lens and EVF: $1100

With the E-P1 already going for about $750 with a lens, and with the E-P2 taking what’s expected to be near-identical shots for hundreds more (though including an EVF standard), we’ll let you do the math.

Olympus has also announced two new micro four thirds lenses on their way, a super wide 9-18mm f4.0-5.6 lens (18-36mm equivalent) and a super zoomy 14-150mm f4.0-5.6 lens (28-300mm equivalent). It is good to see the company supporting their own standard with more enticing native lenses.

THE PEN IS NOW MIGHTIER: OLYMPUS EXPANDS THE POWER AND PERFORMANCE OF THE E-P1 WITH THE NEW E-P2

New Electronic Viewfinder, External Audio Port, Autofocus Tracking and More Creative Control All in a Retro Black Metal Body – Looks as Good as it Performs

CENTER VALLEY, Pa., November 5, 2009 – Less than six months after launching the groundbreaking PEN E-P1 Micro Four Thirds camera, Olympus proves that evolutionary change can happen incredibly fast by releasing the E-P2 with even more power and performance. The new PEN, like the E-P1, is the world’s smallest 12.3-megapixel interchangeable lens system with In-body Image Stabilization. It blends the high-quality still images like that of a DSLR with High Definition (HD) video, stereo Linear PCM audio recording and In-Camera Creativity inside an ultra-portable body. Along with several new features, and eight in-camera Art Filters that can be applied to still images and HD videos, the result is mighty powerful and creative.

The innovative E-P2 offers more of what photo enthusiasts have been asking for:

* A stylish retro black metal body reminiscent of a traditional PEN camera;
* Accessory port to accommodate the included detachable VF-2 Electronic View Finder (EVF) or optional external microphone adapter EMA-1;
* A newly-developed Continuous Autofocus (C-AF) Tracking System tracks the subject across or back-and-forward through the frame;
* Two new art filters: Diorama & Cross Process for greater creative expression in your still images and HD videos;
* iEnhance to automatically adjust color and contrast for a more dramatic effect;
* Full Manual Control of shutter/aperture in Movie Mode; and
* HDMI Control of camera’s playback functions using the TV Remote when the camera is connected to an HDTV.

“The high demand for the E-P1 demonstrates that today’s photo enthusiasts and consumers want the high-quality imaging like that of DSLRs in a compact retro design. The fact that it also offers HD video, creative functions and high-end stereo sound makes it even more desirable,” said John Knaur, senior marketing manager, Digital SLR, Olympus Imaging America Inc. “The new PEN builds on the success of the E-P1 by adding many of the features that were on enthusiasts’ wish list for the second generation: an EVF for composing with your eye close to the camera, the ability to add an external microphone, C-AF tracking, and a black metal body. With each new PEN, Olympus continues to enhance the line, and the future looks very bright.”

The E-P2 comes with either the small and lightweight Olympus M. ZUIKO Micro Four Thirds lenses: 14-42mm f3.5-5.6 (28-84mm equivalent) or 17mm f2.8 (34mm equivalent). The camera adds to the new category created by the E-P1: Not a P&S. Not an SLR. It’s a PEN.

Accessorize: Everything Goes with Basic Black

The E-P2 incorporates a new port for connecting new accessories including an optional EMA-1 Microphone adapter and the VF-2 live-finder, a detachable electronic viewfinder that comes with the E-P2. The live-finder easily slides onto the camera’s accessory port and hot shoe when needed to provide 1.15x magnification, a 100% field of view with amazing resolution, brightness and contrast. The viewfinder refreshes quickly to minimize image ghosting on fast-moving subjects.

The VF-2 rotates up to 90 degrees to enable photographers to look down into it, which is useful when shooting subjects from challenging angles. The built-in diopter adjustment and high magnification offer easy viewing with and without glasses.

For those who want to capture enhanced audio, the new EMA-1 external microphone connector can be plugged into the new camera’s external accessory port. The connector will accept the optional Olympus ME-51S stereo microphone or any microphone of their choice.

Olympus has a variety of other accessories to maximize the functionality of the new PEN, including the previously released 14-42mm and 17mm Micro Four Thirds lenses. The MMF-1 Four Thirds System Lens Adapter makes E-P2 compatible with all Olympus ZUIKO Digital SpecificTM lenses and other Four Thirds System lenses from Sigma, Panasonic and Leica.

Olympus OM film-based lenses can be attached to the E-P2 with the MF-2 OM Lens Adapter. Additionally, an optional FL-14 flash unit, suitably small for the camera, adds more lighting versatility to your shots.

Stay focused on Your Targets Wherever They Roam

Sometimes it can be hard enough to keep up with kids, let alone take pictures of them. The E-P2’s new C-AF Tracking and AF Target Registration locks your subject into focus, and constantly adjusts focus and brightness whether you or your subject is moving. With this mode, a simple push of the shutter release enables you to keep fast-moving and unpredictable subjects in focus – tracking subjects from left to right and from front to back – within the frame, automatically ensuring that even active subjects are captured clearly.

Even More Ways to Create

Olympus pioneered easy-to-use in-camera art filters for still images captured inside its E-System DSLRs. It was the first company to offer the ability to apply art filters to High Definition video recordings captured with the E-P1. Now, the E-P2 continues this tradition of innovation with eight in-camera art filters, including two new filters: the Diorama and Cross Process. The Diorama art filter gives users a miniature model photo feeling by narrowing the depth of focus and enhancing color and contrast. The selective focus that this filter offers lends intimacy to images of even the largest subjects like canyons or cityscapes.

The Cross Process art filter offers an unexpected look to images and videos by changing the color and contrast of subjects on the fly. Using this mode can result in surreal other-worldly images. Whether you’re a videographer, documentarian or established director – or just want to shoot like one – Art Filters set your images and videos apart from the pack. Since they’re built into the camera, you can achieve dramatic results on the go without needing a computer or editing software. These new filters are a welcome addition to the Pop Art, Soft Focus, Pale & Light Color, Light Tone, Grainy Film and Pin Hole filters previously available on the E-P1.

Because the PEN is an interchangable lens system camera, you also have more creative options for video capture. You can attach any one of the new super-compact Micro Four Thirds lenses or, because the camera can accept many of the other Four Thirds Format lenses with an available MMF-1 Four Thirds System Lens Adapter, you can add anything from an extreme wide-angle fisheye lens to a super telephoto lens for a wide range of expressive options. All the while you will have more DSLR-like control over depth of field, focus, white balance and ISO. It begs the question, “What will you create?”

iEnhance for Radiant Colors

The E-P2 includes a new picture mode called iEnhance, which analyzes colors and brightness. The new mode mimics what the naked eye sees. For example, a beautiful sunset looks awesome in person and generally seems to fade when captured in an image. With iEnhance, the warm yellow and orange colors are heightened to be brilliant and closer to the actual scene. The result is exceptionally clear imaging with a dramatically lifelike color. iEnhance can be used in any shooting mode – from program to manual – and automatically engages when in iAuto.

HDMI Control from Your HDTV Remote

The new PEN makes sharing your content easier than ever. Just connect the E-P2 to your HDTV with an optional HDMI cable and use your HDTV’s remote to control playback functions and navigate the camera’s menus from the comfort of your favorite couch or chair.

Manual in Movie Mode

The E-P2’s manual movie mode allows for independent control of aperture and shutter for expanded exposure and creative control. Now you can adjust the shutter to control the depth of focus while using the aperture to set the overall brightness of the video. This level of control allows you to express your vision exactly how you want in your HD videos.

Make a Design Statement

The E-P2’s high-end, stainless-steel all-black body is easy to handle and carry, and has the styling and refinement of a precision chronometer. Its retro-chic look turns heads, from tech-aficionados and camera buffs to the style-conscious and everyday point-and-shooter. Built rock solid, it fits comfortably in a jacket pocket or a handbag for impromptu street-shooting or any spontaneous adventure. The E-P2 lets you do more and go more places while capturing your life, thanks to its compact size – 4.74″(W) x 2.75″ (H) x 1.37″ (D) – and light 11.1-ounce body. Attention to detail is visible in every aspect of the PEN’s design, including the currently available small and lightweight 14-42mm and 17mm M. ZUIKO DIGITAL lenses as well as the newly announced 9-18mm f4.0-5.6 (18-36mm equivalent) and 14-150mm f4.0-5.6 (28-300mm equivalent) M. ZUIKO DIGITAL lenses.

Ultra-Compact Body Delivers Superior Image Quality

The E-P2 has everything you need to produce vibrant DSLR-quality images: a large 12.3-megapixel imager, In-body Image Stabilization, fast Imager Autofocus, the proven Olympus Dust Reduction System and the new TruePic™ V Image Processor.

As the second Micro Four Thirds camera from Olympus, the E-P2 provides the same image quality as current Four Thirds format E-System cameras because it has the same image sensor size as the E-30 and E-620 DSLR models, but in a much smaller body. This high-performance 12.3-megapixel Live MOS image sensor delivers excellent dynamic range, accurate color fidelity, and a state-of-the-art amplifier circuit to reduce noise and capture fine image details in both highlight and shadow areas.

The E-P2’s Live MOS image sensor is complemented by Olympus’ TruePic™ V Image Processor, which produces clear and colorful photos using all the pixel information for each image to provide the best digital images possible. The image processor is noted for accurate natural color, true-to-life flesh tones, brilliant blue skies and precise tonal expression; it also lowers image noise in photos shot at higher ISO settings (ISO 100 to ISO 6400), enabling great results in low-light situations.

Be a Mover, Not a Shaker

Any lens attached to the E-P2 will deliver blur-free images thanks to three modes of In-body Image Stabilization that compensate for up to four steps EV (exposure value). Mechanical Image Stabilization automatically compensates for camera shake in low light or when shooting without a tripod. Since the PEN is the world’s smallest interchangeable lens camera with In-body Image Stabilization, you’ll feel comfortable taking it on the road with you to capture the action. As an added advantage, the built-in image stabilization works not only with the M. Zuiko lenses but all Four Thirds lenses and even older OM film-based lenses when used with the appropriate adapter for the E-P2.

Small Real Estate with an Amazing 3-Inch LCD View

Consumers accustomed to composing and focusing using a point-and-shoot camera’s LCD will appreciate the E-P2’s 100 percent accurate, 3-inch full color HyperCrystal LCD, which gives them the same easy, seamless experience when shooting still images or videos. The camera’s Live Control function makes it easy to compose, edit and shoot pictures or videos without stopping to access various menus. The E-P2’s fast Imager Autofocus in Live View also enables you to compose, focus and capture the shot quickly and easily without ever taking your eyes off the large LCD.

The LCD displays 230,000 pixels in vivid color and includes HyperCrystal technology, which offers many times the contrast of conventional LCD monitors for easier viewing in both preview and playback. It also provides a wide viewing angle of 176 degrees, which ensures that images can be composed from even the most obscure angles.

This Camera Leaves Others in the Dust

You don’t have to waste precious time worrying about dust ruining the perfect image; instead, spend more of that time shooting with the E-P2. The proven Olympus Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter™, a patented ultrasonic technology that vibrates to remove dust and other particles from the front of the image sensor, capturing it on a special adhesive membrane every time the camera is turned on.

What You See Is What You Get

When viewing the LCD in Live View, Art Filter effects and settings like white balance and exposure are viewable right on the LCD, and their impact is seen instantly on the display. Real-time monitoring offers amazing versatility and creative control, and users who apply a setting have instant gratification because what they see on the camera’s LCD is what they’ve captured. For musicians used to applying audio effects like reverb to their instruments before recording them, the concept of setting the E-P2 to capture precisely the kind of image they want before they press the shutter makes perfect sense. For imaging purists who want to shoot without filters, and apply them to images inside the camera later, or just edit images back at their computers, the E-P2 provides these options and opens more in-the-field creative possibilities.

Mix It Up with Multiple Exposure

With the E-P2’s Multiple Exposure function available for still image capture, you are free to tell a visual story your way, whether in a portrait, a landscape or a combination of both. The image capture options allow you to shoot one shot, then another and combine them in real time, or capture both shots separately and combine them in the camera later. Overlay your face on top of your pet’s face. Create an “identical twin” of yourself. Put the moon in the sky at noon. Your ability to manipulate space and time makes this new creative multimedia device a veritable time machine.

Frame Your Works of Art Inside the PEN

You can often achieve greater photographic expression by framing a scene in a unique way. The E-P2 provides four aspect ratios that serve as masks to frame your image to the desired proportions, including: the standard 4:3 aspect ratio that is suited to an 8 x 10-inch enlargement; the 16:9 aspect ratio that will display your images beautifully on a widescreen television; and other popular aspect ratios such as 3:2 and 6:6. The Multi-Aspect Shooting further expresses your creative vision when combined with Art Filters and multiple exposures. What will you create?

Stereo Audio Sounds As Good As the PEN Images Look

Like the innovative Olympus LS-11 portable audio recording device that puts the power of a recording studio in your pocket, the E-P2 features uncompressed CD-quality 16 bit/44.1kHz Linear PCM stereo recording capability to capture the rich sound quality of your scene. When you shoot with the E-P2, it’s like having a sound technician built into your camera to capture the nuances of the audio happening all around you. It has the versatility to record and play back in the WAV format and can record with its built-in stereo microphone. Whether recording audio while shooting a video or adding audio by recording a narration to your still images, the E-P2’s audio sounds as great as its images look. Now, with the new stereo microphone adapter, there is new freedom in audio capture with the PEN.

Create Your Own Multimedia Slideshows with Stills, Video and Audio Inside E-P2

Content is king, and with the E-P2 you have your own portable kingdom of still images, HD video, and audio to remix at your command. In playback mode you can seamlessly mix stills and movies inside the camera to create a multimedia slideshow; dub in one of five built-in dramatic background music options to provide a soundtrack for your cinematic creation. Plug the E-P2 into any HD television with an HDMI cable and show off your masterpieces to your audience before your DVD arrives in stores!

As Easy to Use as a Point-and-Shoot with SLR-Quality Technologies

The E-P2 is equipped with 19 scene-select modes for effortless picture taking. Standard scene modes like Night-Scene, Portrait and Landscape are easy-to-use solutions for everyday shooting. Capturing beautiful portraits is easy with the new ePortrait Mode. It enables you to smooth your subject’s skin – all in the camera and before capture! Additionally, edits can be made post-capture using the ePortrait mode.

Shooting scenes with both highlights and shadows can often be a challenge because of the extreme contrast between dark and bright areas. The E-P2 addresses this challenge with Shadow Adjustment Technology that adjusts for extreme light variations and maintains visible detail in both the shadow and highlight areas of the scene. Now users can see and preview the gradation on the Live View LCD and capture images showing the shadow detail they saw. This feature is also accessible in the Edit menu after the shot has been taken.

The E-P2’s Face Detection reduces the chance of blurred subjects in images by recognizing up to eight people’s faces and the background, tracking the faces within the image area, even if people are moving, and automatically focusing and optimizing exposure for sharp, brilliant portrait pictures (ideal for large family or party group photos).

Don’t like changing camera settings for each shooting situation? The E-P2’s Intelligent Auto Mode automatically identifies what you’re shooting (Portrait, Landscape, Night + Portrait, Macro, Sports) and adjusts settings to capture the best result depending on the situation. First-time users will enjoy this quick and hassle-free feature, which does the thinking for them and produces incredible images like a pro.

The E-P2 offers ease-of-use and flexibility to meet your shooting style. Choose the Live Control technology, an advanced control panel system that incorporates the use of the sub dial and enables you to see the image and the menu controls all at the same time on the LCD. As a result, you can use the main and sub dials to select modes and adjust settings without having to take your eyes off the subject. Or if you prefer, shoot with the Super Control Panel, which is familiar to any serious shooter. These options along with the camera’s intuitive button layout make the camera simple to use. The E-P2 records to SDHC media cards to accommodate large files including videos with In-Camera Creative Features and uncompressed audio.

Digital Leveler

The E-P2 is equipped with an internal Digital Level Sensor that detects the camera’s pitch and roll and indicates it on the control panel. This Digital Leveler is a tremendous benefit when capturing architecture and landscapes. Level the perfect coastline shot on your next tropical vacation without being tethered to a computer and editing software.

Magnified Focus Assist

The E-P2 provides two optional methods to help the user focus: a Magnified Focus (MF) Assist Function and Magnification Display. When using manual focus, the MF Assist feature aids with critical focus by allowing you to zoom in on part of the image by simply turning the focusing ring on the front of the lens. The Magnification Display enables you to selectively enlarge the image on the LCD at the touch of a button. This mode works for both autofocus and manual focus. Both MF Assist methods provide up to a 10x magnification of a single point of the image for critical focus; perfect for macro or still-life photography.

18×18 Metering Modes

This mode divides the image area into an 18 x 18 grid, metering each of the 324 separate cells to obtain optimum exposure. In addition to 324-division ESP metering, center-weighted metering and spot metering modes are also available.

OLYMPUS Master 2 Software

Use the included OLYMPUS Master 2 software (Mac and PC) to easily download images and videos from the camera or other external device, such as a USB drive, and automatically organize them into albums and groups and by date. Develop high-quality RAW images, apply Art Filter effects, edit and print images. Also, apply the most common editing functions to your HD videos. Update camera and lens firmware through the software and download additional menu languages. A direct link makes uploading your images and videos to YouTube™ easier than ever.

OLYMPUS Studio 2 (Trial Edition Included)

Extend the capability of Olympus Master 2 with Olympus Studio 2. In addition to the functions of OLYMPUS Master 2, this software includes a lightbox mode and selection marks for comparing and sorting multiple images. RAW processing is enhanced with additional controls for finer adjustments. The trial edition can be used for 30 days after installation. After the trial period has expired, a license key is required for further use.

Availability

The Olympus E-P2 will be available in December 2009. It includes E-P2 Body, VF-2 Electronic View Finder, ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens or 17mm f2.8 Zuiko Digital Zoom Lens, USB Cable, Video Cable, Li-Ion Battery Pack (BLS-1), Li-Ion Battery Charger (BCS-1), Shoulder Strap, OLYMPUS Master 2 Software CD-ROM, Manuals and Registration card.

U.S. Pricing / Product Configurations

E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens and Electronic View Finder

Estimated Street Price: $1099.99

E-P2 Body with 17mm f2.8 Zuiko Digital Zoom Lens and Electronic View Finder

Estimated Street Price: $1099.99

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Nov 04

Olympus E-P2 leaks out again, brings along lofty price tag

Posted in: camera, digicam, digital camera, DigitalCamera, leak, leaked, micro four thirds, MicroFourThirds, olympus, Today's Chili

We heard way back in August that an E-P2 could be on tap for a late 2009 release, and while it doesn’t appear that the actual ship date will happen before next year, we’d be shocked if Olympus didn’t come clean with its second Micro Four Thirds camera here soon. We’ve seen leak after leak after leak, and now we’re staring at what appears to be a few press images of the not-yet-released camera. Reportedly, the 12.1 megapixel shooter will feature AF tracking, an electronic viewfinder, a black color option, 3fps shooting and a 720p movie mode. Nothing earth-shattering, but an appreciated update nonetheless. We’re told that it’ll be available across the pond in January for the mildly stunning price of £849 ($1,406), but at least that sum includes a 14-42mm lens. Or so they say.

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Olympus E-P2 leaks out again, brings along lofty price tag originally appeared on Engadget on Wed, 04 Nov 2009 16:31:00 EST. Please see our terms for use of feeds.

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Oct 30

Olympus E-P2 tap keeps leaking, new viewfinder now on show

Posted in: camera, digital camera, DigitalCamera, leak, micro four thirds, MicroFourThirds, olympus, Today's Chili

Now this is how you build up anticipation for a new product. Start off with just the name accidentally popping up on one of your corporate websites in order to get our imaginations flowing, then leak a teeny tiny image of the optional viewfinder. There’s actually a good bit of info here — you can tell the new attachment (titled VF-2) seems to be vertically adjustable, something missing from the previous generation, but there’s also the bogus news that it’ll fit only the forthcoming E-P2. The silver lining to that knowledge, though, is that the body we can only partially see must be the as yet unannounced E-P1 successor, which means the new Micro Four Thirds shooter will at least have the option of a black body… which some people care about. Deeply.

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Olympus E-P2 tap keeps leaking, new viewfinder now on show originally appeared on Engadget on Fri, 30 Oct 2009 10:11:00 EST. Please see our terms for use of feeds.

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Oct 29

Olympus E-P2 leaked in the most insignificant of ways

Posted in: camera, digicam, digital camera, DigitalCamera, dslr, micro four thirds, MicroFourThirds, olympus, Today's Chili

Olympus’ E-P1 micro four thirds camera only hit the market a few months ago, but already it seems as if a successor is inching closer to release. A peek at the outfit’s official Chinese website shows a panel and link for a “new” E-P2 camera, though it seems as if the page it’s listed on isn’t quite complete. Still, we’re guessing there’s a reason of some sort it’s listed, but we’re still struggling to find the patience required to see this whole thing through.

[Via 4/3Rumors]

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Olympus E-P2 leaked in the most insignificant of ways originally appeared on Engadget on Thu, 29 Oct 2009 03:04:00 EST. Please see our terms for use of feeds.

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Oct 20

Panasonic GF1 Review: I

Posted in: dslr, micro four thirds, Panasonic, photography, review, Today's Chili, top

There are four Micro Four Thirds cameras on the market right now. That’s it. But with Panasonic’s GF1, investing in the mini genre makes more sense than ever—if you know what you’re getting into.

What the &*^@ is Micro Four Thirds?

Olympus and Panasonic co-developed what’s called the Micro Four Thirds standard just last year. The biggest difference to the eye is the smaller-than-SLR lens mount that incompatible with SLRs unless you deploy an adapter. Internally, the standard ditches the mirrors used in SLRs and uses a four thirds CMOS (not micro four thirds chip!) to capture the image straight from the lens (just like a point and shoot). That sensor is roughly 30% smaller than that found in your average dSLR but 9 times bigger than what’s in your average point and shoot. The result is a camera ever so slightly smaller than a dSLR that should give you a similar end image quality.

The end camera is just a tad smaller than a baseline dSLR:

But it’s still way bigger than your average point and shoot:

The big not-so-secret

There are only four products on the market at this point (Panasonic G1, its video-centric brother, the GH1, Olympus E-P1 and, of course, the Panasonic GF1), and they all have the exact same 13MP Panasonic sensor. But only the latest two, the GF1 and the E-P1, have taken advantage of the smaller technology to create design-forward cameras.

The spoiler

However, if you’re going to buy one of these cameras, you probably want the GF1 ($900 with 14-45mm lens). It couples all the good stuff from Panasonic’s existing line with a retro body that’s eerily similar to the Olympus E-P1.

The build

The GF1 is too big, and it’s too heavy. The Panasonic GF1 is indeed smaller than my Canon XTi, but it still won’t fit in your pocket.

Yet I love carrying it around. Why? The body feels solid, as if it’s from another era, a Utopian time when men were men and companies built hardware to last—before we valued sissy silver painted plastic more than the metal it was emulating.

The GF1 (and the Olympus E-P1 for that matter) feels like a small tank in your hands, an element of war that won’t give up after being tossed in a bag recklessly. If dropped on an iPod from over 3 feet, the iPod would certainly be crushed.
There are neither too many buttons nor too few. A familiar circle rotates between shooting modes naturally and burst and timer modes share a switch right in front of it. A d-pad toggles functions like ISO while a clever clicking dial allows you to adjust shutter speed and f-stops.
A few buttons earn their very own functions, like focusing mode, exposure lock and, maybe most cleverly, video. Hitting this little button to the right of the shutter release switches you to video no matter what mode you’re in.

Given the almost retro-style build, however, it was tough for me to lose an optical viewfinder (though a digital optical add-on is available). It’s a heavy camera to hold outstretched while framing shots on the viewfinder. But luckily, the 3-inch LCD’s 460,000 pixels mean you can just manage to find critical focus, thanks to the screen auto-zooming to your subject during manual focusing, though it can be tough to be sure you’ve really nailed it.

That screen resolution is below a premium dSLR, but it’s about twice as sharp as the E-P1—and you’ll notice.
And then there’s the flash. Unlike the E-P1, the GF1 has one of these bad boys, and Panasonic has celebrated that fact by designing what must be the most complicatedly mechanical flash on the market. Watching it snap from the camera body is both impressive and worrisome. Can these little struts really hold up? Regardless, it’s handy to have, even though a perk of buying such a big, expensive camera is avoiding flash photography.

The pictures

Check out all of my GF1 test shots on Flickr, untouched JPEGs pulled right off the GF1. Or see compressed versions in our embedded gallery.

Honestly, there’s not much we can say about the quality of the GF1’s sensor that hasn’t been said (by us, even.) The biggest particular problem is ISO noise, as you can see in the gallery below. Bottom line: the GF1 supports ISOs up to 3200, but you probably don’t want to reach beyond 800.
However, with that disclosure out of the way, I’d like to make a few points.

1. Shooting on the GF1 feels like shooting on an SLR. I’m not just talking about the ease of tweaking advanced controls. I mean, you pull the trigger, the camera takes a shot RIGHT THEN. For dSLR owners, that’s nothing new. For P&S owners, that’s a revelation.

2. There is undoubtedly more noise with Panasonic’s sensor in high ISOs than you could find in dSLRs for a similar price. But, the image quality you can achieve—I mean that intangible mix of sensor size and great glass that makes your photos feel professional—is undoubtedly beyond the realm of point and shoots, well in the SLR ballpark.

The BEST shot I was able to recreate of that watch above on my Canon P&S?
Needless to say, pretty gross stuff.

3. The Live View system features what’s, hands down, the best function I’ve ever see on any Live View system yet. Holding a Shutter Mode Effect button previews the motion blur you can expect in your final shot—saving you the heartache of the perfect preview and horrible blurry-faced end product we’ve all experience on point and shoots.
The only catch? The system didn’t work well in daylight, when you might want to use Live View to preview sports motion blur. Note that this car didn’t blur at all in my preview, nor did about 20 similar test shots I took in identical conditions.
However, low light tests worked fine.

The 720P video I’d describe as solid but not extraordinary. The AVCHD (or motion JPEG) video, while inherently better than P&S systems or Mino HDs, is not razor sharp. Without side by side comparisons or the wonderful popping colors you get with a bit of sunlight (it rained through my entire testing period), I can’t make any definitive statements. But what I’ve seen from the T1i seems better (richer colors, sharper figures), and not just because it’s 1080P.

Versus the EP-1

There are definitely a few key advantages to buying a GF1 instead of Olympus’ E-P1. They include:

• Sharper screen
• Faster autofocus (I’d estimate about 3x faster—it’s noticeable)
• Built-in flash (the Olympus requires an optional mount)

But it should be noted, the E-P1 has its image stabilization inside its body while Panasonic relies on its IS kit lens. In other words, every lens the Olympus uses will have inherent image stabilization. Also, Olympus allows autofocusing on all Micro Four Thirds and Four Thirds lenses. The GF1 can accept these lenses, but it only retains autofocus on its own brand. So lens fanatics may find the E-P1 the better bet. And if you find one or the other on some super sale, well, it’s a toss-up.

Confession

The real reason I enjoyed shooting on the GF1, and the real reason you’re interested in Micro Four Thirds if you are indeed interested, has nothing to do with practicality.

I just feel cool using it.
I like walking around Chicago with the GF1 on my shoulder. It gives me that feeling of Leica superiority without the expense. The Micro Four Thirds system may have originated in Japan, but the romance of shooting on the latest systems is purely European. For the first time in a long time, a piece of electronics has made me long for an era and a place that I never knew.

Every soccer mom tourist in Chicago has a dSLR. They may take prettier photos than I do, but damn do I long to be different once in a while. And I’m here to say that, if you crave a Micro Four Thirds for the same reason, it’s my opinion that the GF1 works well enough that, well, that’s OK. I’m just not trading my dSLR for one.

Incredibly solid build


Best screen in class


Unique shutter blur preview


General stylishness and badassery


Video is good, not great


Same CMOS found in earlier version/competition


IS in kit lens, not camera

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