Pixiq

“OLYMPUS PEN Since 1959,” inscribed on the cleft atop the E-P1, expresses a sentimentality quite absent from today’s stoic and utilitarian digital cameras. The inscription refers to the successful PEN line of half-frame film cameras that made Olympus famous for packing impressive features and optics into a compact form factor—small enough to fit in a shoe, as the advertisements demonstrated. Olympus kept this small­but-capable reputation for camera design alive throughout the film age, represented best in their OM-series of SLRs and XA-series of compact rangefinders.

Note: The history of these cameras is an interesting read, and closely follows the life of a legendary camera designer named Yoshihisa Maitani. The full story is really an interesting read.

The digital age has not been so fortunate in the area of compact design. Yes, there are more than enough compact digital cameras—these point-and-shoots take up the vast majority of the photographic market—but they suffer serious drawbacks as a result of their miniaturization: slow response times, limited manual controls, and (most of all) poor overall image quality as a direct result of their small sensors. At the other end of the spectrum are D-SLRs, which suffer none of these drawbacks but are seriously limited in how small they can be manufactured. As you can tell by the name, Digital-SLR, the digital elements have largely been tacked onto existing SLR designs. As a result they are stuck with two extremely cumbersome components: an optical viewfinder and a mirrorbox. These extra components were necessary in film cameras, because there wasn’t any way to focus, meter, or compose a scene through the film strip.

But a digital imaging sensor can do all this on its own. Contrast Detect Autofocus (CDAF) sensors can be installed directly onto the sensor, as can a complete metering system. And the sensor, by remaining active with the shutter open before the shot is taken, can provide a live preview of an image in real time, and relay that information to either an LCD screen or an electronic viewfinder (EVF). This preview system is called Live View, and is the digital alternative to an optical through-the-lens (TTL) viewfinder—even offering quite a few advantages over its film ancestor. 

Olympus has carefully developed this Live View technol­ogy over the past several years, keeping it under the hood of its Four Thirds line of D-SLRs. It was only a matter of time before the technology bypassed the mirrorbox and viewfinder completely, to create a compact, Live View-only camera with an SLR-sized sensor. And sure enough, in 2009 Olympus introduced their first camera in the new Micro Four Thirds format: the E-P1.

Not a Point-and-Shoot

At any given megapixel (MP) rating, larger sensors mean larger individual pixels—there is simply more room for each one. So while a point-and-shoot with a small sensor may match the E-P1’s 12MP resolution, the E-P1’s larger pixels will always capture more light, output a stronger signal, and produce a cleaner, sharper image with better color accuracy. This is not to say there is no such thing as a decent point­-and-shoot camera; there are many, and in ideal shooting sit­uations there may be no visible difference in the final qual­ity. The E-P1’s edge comes into play the other 90% of the time, when the light is dim, the subjects are moving, and the world isn’t a perfect studio shot.

These are the most exciting times to take pictures, and when the E-P1 blasts most any point-and-shoot out of the water in terms of responsiveness, image quality, and feature count. In many regards it trumps even entry-level D-SLRs, with specs that line up favorably with advanced and semi-pro models (ISO up to 6400, 11 AF areas, Spot Metering, HD video capture, etc).

Additionally, the E-P1 supports interchangeable lenses— probably the most obvious factor distinguishing it from point­-and-shoots. While there are plenty of decent multipurpose lenses, there’s simply no such thing as a perfect lens for every­thing. So interchangeable lenses allow you to choose a spe­cific lens for a particular purpose—wide-angle lenses for inte­riors and architecture, wide-aperture lenses for low light and portraits, telephoto for wildlife, and the list goes on and on. 

Not an SLR

Here the difference is obvious: the E-P1 is considerably smaller and more portable than any D-SLR on the market. With the right lens, it can fit into a large pocket; and even when carried with its strap, it is noticeably lighter. This brings up a classic saying: the best camera is the one you have with you. D-SLRs may have larger grips, optical viewfinders, and lightning-fast autofocus systems, but their added weight often means they are left at home, where their photographic value is exactly zilch. The E-P1 begs to be taken everywhere, ensuring you’re always ready to capture the shot when it reveals itself.

It’s a Pen

Smaller camera bodies aren’t just about convenience; they are specialized artistic tools, with advantages specifically relevant to the craft of photography. By virtue of their size, smaller cameras can infiltrate scenes and discretely capture subjects to reveal an undisturbed, earnest, and decisive moment in a way larger, distracting cameras simply cannot. Combining that discretion with a high-quality imaging system results in a powerful photographic instrument, so it’s no wonder that the E-P1 is a breath of fresh air for photographers everywhere.