Photography Digest

Note: because of the many operational similarities between the E-5 and the E-3, this review does not contain the standard 'body' and 'operation and controls' pages which would normally be found in a dpreview in-depth review. For a full picture of how the E-5 handles, we strongly suggest that you read this review alongside our in-depth review of the E-3, published in 2008.

Taking what could most politely be described as a 'considered' approach to product upgrades, late last year Olympus lifted the curtain on the third generation of its professional SLR, in the form of the much anticipated E-5. Olympus introduced the world to the first Four Thirds camera, the E-1, back in June 2003, and finally got round to updating it with the E-3 four years later.
It is perhaps indicative of where Olympus's priorities lie - or the way the market is headed - that whereas the E-3 took the E-1 back to the drawing board and introduced several new features, the E-5 is probably best described as a warm-over of its predecessor. It's also interesting to note that it benefits from a 'trickle up' of technology from the latest developments in the company's Micro Four Thirds cameras - an unusual situation for what is, effectively, the hero product in the E-system range.
The long delay has caused some wild speculation about the E-5, borne not out of dissatisfaction with the existing model (in fact most E-1 and E-3 users are still happily taking pictures with their 'old' cameras), but, I suspect, out of a need to see Olympus competing with the 'big boys' at this level, and the (related) need for a clear sign that it hasn't abandoned Four Thirds in all the excitement surrounding the mirrorless system.

The E-5 sat here between two of its most obvious competitors (in spec terms): the Nikon D300s and Canon EOS 7D.

At first glance the E-5 (and the lack of any other E-system camera announcements) is unlikely to calm those fears; if anything it confirms that precious little R&D resource is going into the reflex system. Dig a little deeper, however, and you realize that the E-5 is a perfectly sensible upgrade that takes an excellent camera and addresses most all the complaints and offers, according to the marketing blurb, the best image quality ever seen in an Olympus DSLR. It also throws in a nice sprinkling of must-have features (such as 720p movie mode).
The E-5 is, without a doubt, a camera aimed at the Olympus faithful, designed (as described to us) to 'finally offer image quality to match that of Zuiko lenses'. Olympus knows that the E-system lenses are the jewel in its crown and isn't going to abandon that - or its users. The future for Zuiko Digital lens owners might not be a reflex camera (we've had strong hints that a common live view only FT / MFT platform lies ahead), but Four Thirds isn't going away.

Compared to E-3 - key differences

Evolutionary rather than revolutionary, the E-5 is, effectively, an E-3 with a bigger screen, an updated sensor and processor and a few new features. Physically the only changes are a spot of button rearranging (necessitated by the larger area of the screen) and the long-overdue replacement of the redundant xD card slot with an infinitely more useful SD version. Inevitably, after three years there's a lot of feature enhancements, though these are (almost) all lifted from the latest Micro Four Thirds models.
The thing Olympus is really pushing with the E-5 is image quality. It's not a new sensor (from what we can tell this is almost certainly the same as the one in the E-PL1 and E-PL2), but it does sport a redesigned (for which read lighter) Low Pass Filter (with moir� removed by the processor) and a new 'professionally tuned' Image Engine (The TruPic V+). The combination of Zuiko Digital lens, the new sensor and the new processor is claimed to offer image quality better than any 12MP APS-C camera, and, according to Olympus, many with even higher pixel counts.
Let's have a look at the main changes:

• New sensor (12MP vs 10MP Live MOS)
• New TruPic V+ processor (E-3 was TruPic III)
• Large 3.0" 921k vari-angle screen
• Fast Sensor AF (inc Face Detection)
• 720p movie mode (AVI M-JPEG) + Audio recording
• HDMI and Stereo Mic connections
• Art Filters (10, including new Dramatic Tone Filter)
• ISO 6400 top sensitivity (vs E-3's ISO 3200)
• More customization options
• Redesigned color-coded menu system
• New features including Level Gauge in the viewfinder, Multi-exposure, i-Enhance, 7 frame AEB
• SD / CF slots (E-3 was xD / CF)
• New BLM-5 battery (although compatibility is retained with the older PS-BLM1)

Key feature comparison (vs E-3)

Looking at the E-3 and E-5 together it's clear that from a photographic point of view the models share a lot more than they differ, with most of the changes relating to the sensor and to digital features (most of which have already debuted on MFT models). The main physical differences can be seen below - from the front they look almost identical, but round the back the larger, higher resolution screen takes up more space and has meant some buttons have moved (and a couple have gone altogether).

	Olympus E-5	Olympus E-3
Sensor	� 4/3 type Hi-Speed Live MOS � 13.1 million total pixels � 12.3 million effective pixels	� 4/3 type Hi-Speed Live MOS � 11.8 million total pixels � 10.1 million effective pixels
Sensitivity	� ISO 100-6400 � Customizable Auto ISO	� ISO 100-3200 � Customizable Auto ISO
Movie mode	� 720P � 30fps � AVI M-JPEG � Mono sound � External stereo mic connector	No
Processor	TruPic V+	TruPic III
Auto Focus	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash � Sensor AF (CD-AF) in live view	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash
AE bracketing	2,3,5 or 7 frames	3 or 5 frames
Scene modes	Yes	No
Art filters	10	No
LCD monitor	�3.0" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 920,000 pixels � 100% frame coverage � 15 step brightness adjustment	� 2.5" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 230,000 pixels � 100% frame coverage � 15 step brightness adjustment
Storage	� SD / SDHC / SDXC) � CF Type I/II	� xD Picture-card � CF I/II
Connectivity	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal � HDMI � Stereo mic jack	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal
Other features	� i-Enhance � 2 axis level gauge � Face Detection � Multi exposure mode � Improved customization � Shutter now tested to 150k exposures � Aspect ratio options � Add copyright info
Dimensions	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)
Weight	813 g (1.8 lb.)	800 g (1.8 lb.

Original Article:www.dpreview.com

Back in 2001, when it was possible to charge $999 for a compact camera, Olympus produced the C-3040Z, C-4040Z and C5050Z which featured some of the brightest zooms to ever appear on such cameras. Sadly, as the years have gone on and prices have dropped, Olympus moved away from this part of the market and it's been a long time since we looked to it for class-leading compacts.
Despite the falling price of entry-level DSLRs and the arrival of their more compact mirrorless competitors, the enthusiast compact sector has seen a resurgence, with Samsung and Nikon weighing-in and Canon going as far as bringing a second model to the melee (the S90 revived the PowerShot 'S' series to sit alongside the company's stalwart G series). Olympus, meanwhile, has remained quiet.
With the launch of the XZ-1 it becomes apparent that Olympus hasn't been sitting idly by - instead it has clearly been watching the sector very closely and has studied the available cameras keenly. The result of this study is an enthusiast compact that takes the best elements of its rivals and synthesizes them into a very attractive package.
There's a bright lens, of course, with the XZ-1 becoming the first of the company's compacts to ever wear its respected 'Zuiko' designation. And it's clear why the company would want to draw attention to the optics, having created the brightest zoom lens of any current compact while still offering a truly useful range. The i.Zuiko lens is F1.8 at the 28mm equivalent end and a still very impressive F2.5 at the 112mm setting.
But the spec doesn't end at the lens - the XZ-1 is built around a high sensitivity 1/1.63" CCD which, along with its peers, makes it one of the larger sensors to appear in a compact camera with a built-in lens. To this it adds two control dials (including an S90-style dial around the lens) and a bright, high-resolution OLED screen. Other high-end highlights include a flash hot shoe and the ability to wirelessly control off-board flashguns. It's hard to imagine what else Olympus could have fitted into the XZ-1's attractive metal-fronted body.

From the front it's clear that the XZ-1 is slightly larger than the two smallest enthusiast compacts (the Panasonic LX5 and Canon S95). It's about the same size as Samsung's EX1/TL 500, making it much more conveniently sized than the larger Canon G12 or Nikon P7000.
The top-down view emphasizes the dimensional differences between the three cameras and also shows the flash hot shoe.

Olympus XZ-1 specification highlights:

• High Sensitivity 10MP CCD sensor
• 28-112mm equivalent lens
• F1.8-2.5 maximum aperture
• CCD-shift image stabilization
• Twin control dials, including one around the lens
• ISO 100-6400
• New TruPic V processor (as used in the company's PEN series)
• Large 3.0" 621k (VGA equivalent) OLED display
• 720p movie mode (30 fps in Motion JPEG format)
• Micro HDMI connector
• 6 Art Filters (As per the PEN series)
• In-camera RAW conversion
• Built-in flash, hotshoe and remote flash control
• Built-in ND filter
  

That lens in context:

The super-bright F1.8-2.5 lens does more than let you keep the ISO settings down in low light. It also allows a surprising degree of control over depth-of-field. It's sometimes hard to work out how much or little depth-of-field a lens will produce, thanks to differing sensor sizes (and the unclear manner in which they are often designated), but the key factors are the physical size of the aperture and the angle-of-view.
In this instance, at the long end of its zoom, the XZ-1 has an aperture with a diameter of 9.6mm at 112mm equivalent, which compares favorably to the 9.8mm maximum aperture at the 83mm equivalent of a typical APS-C 18-55 F3.5-5.6 kit lens. It means the XZ-1 should give at least as blurred a background and do so at something much closer to the traditional portrait focal length. Furthermore it means the XZ-1 should give greater control over depth-of-field than a Micro Four Thirds kit lens, since they tend to offer 7.5mm at 84mm equivalent.
All-in-all, it means the XZ-1 offers similar control over depth-of-field and a more flexible focal length range than most DSLRs or mirrorless cameras with their kit lenses, making it a competitive alternative unless you plan to buy additional lenses.

Original Article:www.dpreview.com

Note: because of the many operational similarities between the E-5 and the E-3, this review does not contain the standard 'body' and 'operation and controls' pages which would normally be found in a dpreview in-depth review. For a full picture of how the E-5 handles, we strongly suggest that you read this review alongside our in-depth review of the E-3, published in 2008.

Taking what could most politely be described as a 'considered' approach to product upgrades, late last year Olympus lifted the curtain on the third generation of its professional SLR, in the form of the much anticipated E-5. Olympus introduced the world to the first Four Thirds camera, the E-1, back in June 2003, and finally got round to updating it with the E-3 four years later.
It is perhaps indicative of where Olympus's priorities lie - or the way the market is headed - that whereas the E-3 took the E-1 back to the drawing board and introduced several new features, the E-5 is probably best described as a warm-over of its predecessor. It's also interesting to note that it benefits from a 'trickle up' of technology from the latest developments in the company's Micro Four Thirds cameras - an unusual situation for what is, effectively, the hero product in the E-system range.
The long delay has caused some wild speculation about the E-5, borne not out of dissatisfaction with the existing model (in fact most E-1 and E-3 users are still happily taking pictures with their 'old' cameras), but, I suspect, out of a need to see Olympus competing with the 'big boys' at this level, and the (related) need for a clear sign that it hasn't abandoned Four Thirds in all the excitement surrounding the mirrorless system.

The E-5 sat here between two of its most obvious competitors (in spec terms): the Nikon D300s and Canon EOS 7D.

At first glance the E-5 (and the lack of any other E-system camera announcements) is unlikely to calm those fears; if anything it confirms that precious little R&D resource is going into the reflex system. Dig a little deeper, however, and you realize that the E-5 is a perfectly sensible upgrade that takes an excellent camera and addresses most all the complaints and offers, according to the marketing blurb, the best image quality ever seen in an Olympus DSLR. It also throws in a nice sprinkling of must-have features (such as 720p movie mode).
The E-5 is, without a doubt, a camera aimed at the Olympus faithful, designed (as described to us) to 'finally offer image quality to match that of Zuiko lenses'. Olympus knows that the E-system lenses are the jewel in its crown and isn't going to abandon that - or its users. The future for Zuiko Digital lens owners might not be a reflex camera (we've had strong hints that a common live view only FT / MFT platform lies ahead), but Four Thirds isn't going away.

Compared to E-3 - key differences

Evolutionary rather than revolutionary, the E-5 is, effectively, an E-3 with a bigger screen, an updated sensor and processor and a few new features. Physically the only changes are a spot of button rearranging (necessitated by the larger area of the screen) and the long-overdue replacement of the redundant xD card slot with an infinitely more useful SD version. Inevitably, after three years there's a lot of feature enhancements, though these are (almost) all lifted from the latest Micro Four Thirds models.
The thing Olympus is really pushing with the E-5 is image quality. It's not a new sensor (from what we can tell this is almost certainly the same as the one in the E-PL1 and E-PL2), but it does sport a redesigned (for which read lighter) Low Pass Filter (with moir� removed by the processor) and a new 'professionally tuned' Image Engine (The TruPic V+). The combination of Zuiko Digital lens, the new sensor and the new processor is claimed to offer image quality better than any 12MP APS-C camera, and, according to Olympus, many with even higher pixel counts.
Let's have a look at the main changes:

• New sensor (12MP vs 10MP Live MOS)
• New TruPic V+ processor (E-3 was TruPic III)
• Large 3.0" 921k vari-angle screen
• Fast Sensor AF (inc Face Detection)
• 720p movie mode (AVI M-JPEG) + Audio recording
• HDMI and Stereo Mic connections
• Art Filters (10, including new Dramatic Tone Filter)
• ISO 6400 top sensitivity (vs E-3's ISO 3200)
• More customization options
• Redesigned color-coded menu system
• New features including Level Gauge in the viewfinder, Multi-exposure, i-Enhance, 7 frame AEB
• SD / CF slots (E-3 was xD / CF)
• New BLM-5 battery (although compatibility is retained with the older PS-BLM1)

Key feature comparison (vs E-3)

Looking at the E-3 and E-5 together it's clear that from a photographic point of view the models share a lot more than they differ, with most of the changes relating to the sensor and to digital features (most of which have already debuted on MFT models). The main physical differences can be seen below - from the front they look almost identical, but round the back the larger, higher resolution screen takes up more space and has meant some buttons have moved (and a couple have gone altogether).

	Olympus E-5	Olympus E-3
Sensor	� 4/3 type Hi-Speed Live MOS � 13.1 million total pixels � 12.3 million effective pixels	� 4/3 type Hi-Speed Live MOS � 11.8 million total pixels � 10.1 million effective pixels
Sensitivity	� ISO 100-6400 � Customizable Auto ISO	� ISO 100-3200 � Customizable Auto ISO
Movie mode	� 720P � 30fps � AVI M-JPEG � Mono sound � External stereo mic connector	No
Processor	TruPic V+	TruPic III
Auto Focus	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash � Sensor AF (CD-AF) in live view	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash
AE bracketing	2,3,5 or 7 frames	3 or 5 frames
Scene modes	Yes	No
Art filters	10	No
LCD monitor	�3.0" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 920,000 pixels � 100% frame coverage � 15 step brightness adjustment	� 2.5" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 230,000 pixels � 100% frame coverage � 15 step brightness adjustment
Storage	� SD / SDHC / SDXC) � CF Type I/II	� xD Picture-card � CF I/II
Connectivity	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal � HDMI � Stereo mic jack	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal
Other features	� i-Enhance � 2 axis level gauge � Face Detection � Multi exposure mode � Improved customization � Shutter now tested to 150k exposures � Aspect ratio options � Add copyright info
Dimensions	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)
Weight	813 g (1.8 lb.)	800 g (1.8 lb.

Original Article:www.dpreview.com

Returning in 2001, when it was possible to cost $999 for a lightweight online electronic camera, Olympus designed the C-3040Z, C-4040Z and C5050Z which offered some of the brightest zooms to ever appear on such electronic cameras. Unfortunately, as the decades have gone on and costs have decreased, Olympus shifted away from this factor of the industry and it's been a while since we seemed to it for class-leading compacts.

Despite the dropping cost of entry-level DSLRs and the overall look of their more lightweight mirrorless opponents, the fan lightweight industry has seen a revival, with New new new samsung and Nikon weighing-in and Concept going as far as providing a second design to the melee (the S90 enhanced the PowerShot 'S' sequence to sit together with the organization's stalwart G series). Olympus, meanwhile, has stayed silent.

With the release of the XZ-1 it becomes obvious that Olympus hasn't been seated idly by - instead it has clearly been viewing the industry very effectively and has analyzed the available electronic cameras incredibly. Due to this research is an fan lightweight that needs the best components of its opponents and takes up them into a very eye-catching system.

There's a shiny relationships, of course, with the XZ-1 becoming the first of the organization's compacts to ever use its well known 'Zuiko' place. And it's obvious why the organization would want to highlight the optics, having designed the brightest contact of any current lightweight while still providing a truly useful extensive variety. The i.Zuiko relationships is F1.8 at the 28mm comparative end and a still very amazing F2.5 at the 112mm creating.

But the specifications doesn't end at the relationships - the XZ-1 is designed around an enhanced stage of stage of stage of sensitivity 1/1.63" CCD which, along with its co-workers, creates it one of the bigger receptors to appear in a lightweight online electronic camera with a built-in relationships. To this it results in two management telephone mobile cellphone calls (including an S90-style modify around the lens) and a shiny, high-resolution OLED display. Other high-end features include a display hot shoes and the capability to easily management off-board flashguns. It's complicated to think about what else Olympus could have set into the XZ-1's eye-catching metal-fronted system.

From the front it's clear that the XZ-1 is slightly larger than the two smallest enthusiast compacts (the Panasonic LX5 and Canon S95). It's about the same size as Samsung's EX1/TL 500, making it much more conveniently sized than the larger Canon G12 or Nikon P7000.
The top-down view emphasizes the dimensional differences between the three cameras and also shows the flash hot shoe.

Olympus XZ-1 specification highlights:

• High Sensitivity 10MP CCD sensor
• 28-112mm equivalent lens
• F1.8-2.5 maximum aperture
• CCD-shift image stabilization
• Twin control dials, including one around the lens
• ISO 100-6400
• New TruPic V processor (as used in the company's PEN series)
• Large 3.0" 621k (VGA equivalent) OLED display
• 720p movie mode (30 fps in Motion JPEG format)
• Micro HDMI connector
• 6 Art Filters (As per the PEN series)
• In-camera RAW conversion
• Built-in flash, hotshoe and remote flash control
• Built-in ND filter
  

That lens in context:

The super-bright F1.8-2.5 relationships does more than let you keep the ISO alternatives down in low mild. It also allows a amazing level of management over depth-of-field. It's sometimes complicated to perform out how much or little depth-of-field a relationships will generate, thanks to different indication styles (and the unclear way in which they are often designated), but the key aspects are the actual measurement the aperture and the angle-of-view.

In this example, at the lengthy end of its zoom capability ability capability, the XZ-1 has an aperture with a measurement 9.6mm at 112mm comparative, which investigates positively to the 9.8mm highest possible possible aperture at the 83mm comparative of a common APS-C 18-55 F3.5-5.6 kit relationships. It indicates the XZ-1 should give at least as ambiguous a experience and do so at something much better the conventional symbol primary duration. Furthermore this would mean the XZ-1 should give higher management over depth-of-field than a Little Four Thirds kit relationships, since they usually provide 7.5mm at 84mm comparative.

All-in-all, this would mean the XZ-1 provides identical management over depth-of-field and a more versatile primary duration extensive variety than most DSLRs or mirrorless camcorders with their kit relationships, creating it a aggressive substitute unless you way to buy extra relationships.
Original Article:www.dpreview.com

The Zuiko Digital ED 9-18mm 1:4-5.6 is Olympus's latest all-new relationships style, declared in May 2008. It locations in the organization's 'Standard' sequence of relationships, and provides ultra-wide position ability to the more budget-conscious individual. In this respect it expenses around 15% less than the identified 'Pro' sequence Zuiko Digital ED 11-22mm 1:2.8-3.5, while providing considerably broader position protection, but providing up a quit with regards to highest possible possible aperture and presenting reduced growth (most especially no water/dust sealing).

The relationships functions an amazingly lightweight and lightweight style for a wideangle zoom capability ability capability, understanding one of the advantages confident by Olympus for the Four Thirds system on its launch. This is obtained with an visual system of 13 components in 9 categories, such as an ED cup element to reduce chromatic aberration and comprehensive use of aspherical relationships locations (the front aspect part aspect element is 'Dual Incredibly Aspherical', no less). Also creating an overall look is Olympus's 'focus-by-wire' system, with no immediate specific relationship between the details concentrate team and the motor-driven inner concentrate team.

The 9-18mm's only immediate opposition in the Four Thirds system is the Sigma 10-20mm 1:4-5.6 EX DC HSM, which at enough duration of composing is rather more affordable and functions ultrasonic-type concentrating, but drops at the comprehensive end where every millimetre of primary duration problems (9mm provides an additional 5 levels position of perspective over 10mm). The Sigma will be topic of a upcoming review; for now let's see how the 9-18mm expenses in our assessments.

Use of the Panasonic L10 as Four Thirds assess body

We have selected to use the Panasonic L10 as our conventional assess system for Four Thirds relationships the way it gives the biggest figures in our amazing assessments (which we believe is most likely due to it having a relatively insufficient anti-aliasing filter); this is designed usually to offer the fairest evaluation to other manufacturers' techniques. This continues to be the situation despite the latest launch of the 12 Mp Olympus E-30 and and the Little Four-Thirds Panasonic DMC-G1, and we've therefore selected to comply with the L10 for the advantages of balance (although the distinction in evaluation to these cameras is minimal). The cases choice contains pictures taken with the Panasonic L10, Olympus E-30 and Olympus E-3 techniques.

Headline features

• Ultra-wideangle zoom range (18-36mm equivalent)
• F4-5.6 maximum aperture
• Four Thirds mount for Olympus and Panasonic DSLRs
• Fits Micro Four Thirds cameras via adaptor

Angle of view

The pictures below illustrate the focal length range (from ultra-wide to merely wide):

9mm (18mm equivalent)	18mm (36mm equivalent)

Olympus Zuiko Digital ED 9-18mm 1:4-5.6 specifications

Street price	� US: $525 � UK: �440
Date introduced	May 2008
Maximum format size	Four Thirds
Focal length	9-18mm
35mm equivalent focal length	18-36mm
Diagonal Angle of view	100� - 62�
Maximum aperture	F4-5.6
Minimum aperture	F22
Lens Construction	� 13 elements/9 groups � 1 ED glass element � 2 aspherical elements
Number of diaphragm blades	7, rounded
Minimum focus	0.25m
Maximum magnification	0.12x
AF motor type	Micro Motor
Focus method	Internal
Image stabilization	None
Filter thread	� 72mm � Does not rotate on focus
Supplied accessories*	� Front and rear caps � Lens Hood LH-75C
Weight	280 g (9.9 oz)
Dimensions	79.5 mm diameter x 73 mm length (3.1 x 2.9 in)
Lens Mount	Four Thirds

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

The M. Zuiko Digital ED 9-18mm F4-5.6 is Olympus's third lens for the Micro Four Thirds system to reach the market, covering the wideangle end of the spectrum. It was first announced at the same time as the E-P2 in November 2009 (alongside a forthcoming 14-150mm superzoom), with more details appearing coincident with the E-PL1's launch in February 2010. Its headline feature is undoubtedly its miniscule size - it adopts the same collapsing design as Olympus's Micro Four Thirds 14-42mm kit zoom to realize dimensions of just 2.2" x 1.9" (57 x 50 mm) when retracted, and an extremely light weight of 5.5 ounces (155g). This makes it the smallest wideangle zoom lens on the market by some considerable margin.
The lens's optical formula is clearly strongly related to that of its Four Thirds cousin, the Zuiko Digital 9-18mm F4-5.6, which we reviewed (and liked) in February 2009. If anything, though, it's even more exotic - the 12 element, 8 group design now utilizes two dual-surface aspheric elements to form the front cell, and Extraordinary Dispersion (ED) and High Refractive (HR) glass elements are employed to combat chromatic aberration. The focusing is internal, and takes a leaf out of Panasonic's book by using a single element for maximum speed; it's also designed to provide silent operation for movie recording.
While the Micro Four Thirds format may still be relatively young, the 9-18mm F4-5.6 will by no means be the only choice for wideangle enthusiasts who use the system. Most obviously it's up against the Panasonic Lumix G 7-14mm F4, which is considerably wider, but larger and more expensive. However the aforementioned Four Thirds 9-18mm can also be used on the Micro system via an adapter, which is likely to make it most attractive to photographers who also use Olympus or Panasonic DSLRs. In this review we'll take a look at how these three lenses compare.

Headline features

• Ultra-wideangle zoom range (18-36mm equivalent)
• Exceptionally compact and lightweight collapsible design
• F4-5.6 maximum aperture
• Micro Four Thirds mount for Olympus and Panasonic cameras

Angle of view

The pictures below illustrate the focal length range (from ultra-wide to merely wide):

9mm (18mm equivalent)	18mm (36mm equivalent)

Olympus M. Zuiko Digital ED 9-18mm 1:4-5.6 specifications

Price	� US: $700 � UK: �530
Date introduced	February 2010
Maximum format size	Micro Four Thirds
Focal length	9-18mm
35mm equivalent focal length	18-36mm
Diagonal Angle of view	100� - 62�
Maximum aperture	F4-5.6
Minimum aperture	F22
Lens Construction	� 12 elements / 8 groups � 1 ED glass element � 1 HR glass element � 2 dual surface aspherical elements � 1 aspherical element
Number of diaphragm blades	7, rounded
Minimum focus	0.25m
Maximum magnification	0.1x
AF motor type	Micro Motor
Focus method	Internal
Image stabilization	via camera body where available
Filter thread	� 52mm � Does not rotate on focus
Supplied accessories*	� Front and rear caps
Optional accessories	� LH-55B Lens Hood
Weight	155 g (5.5 oz)
Dimensions	56.5 mm diameter x 49.5 mm length (retracted) (2.2 x 1.9 in)
Lens Mount	Micro Four Thirds

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

The M Zuiko Digital 14-150mm F4-5.6 is Olympus's fourth lens for its Pen series cameras, and the first to venture into the telephoto region. Its 10.7x zoom ratio places it firmly in 'superzoom' territory, covering a very useful 28-300mm equivalent range, and making it ideal for general purpose 'walkaround' or travel use. (Indeed Olympus says that with it on your camera 'you will never miss a photo opportunity', perhaps begging the question as to why the company still makes other lenses.)
Like all superzooms the 14-150mm uses a complex optical formula, with 15 elements in 11 groups including 3 aspheric elements (one of which is made from ED glass) to correct aberrations. But unlike others, it's a fairly lightweight lens, tipping the scales at less than 10 ounces. It's relatively small too - Olympus boasts that the volume has been reduced by 35% compared to its analogous DSLR lens - maintaining the Pen series' emphasis on portability. The autofocus system has been designed to meet the demands of movie shooting, and employs just two lens elements for focusing which promises fast, silent AF. There's a circular aperture diaphragm to give smoothly blurred backgrounds but, in what's becoming something of a trend for the Pen line, the lens hood is an optional extra.
One feature missing, though, is built-in optical stabilization, simply because Olympus uses in-body stabilization for its Pen cameras. This means that Panasonic G-series owners won't get any form of stabilization at all with this lens, which is an important consideration for a relatively slow long zoom. This is the key distinction relative to the most obvious alternative, Panasonic's own Lumix G Vario HD 14-140mm F4-5.8 OIS; however the additional complexity of the stabilized lens results in a rather higher price. Let's see how the Olympus performs.

Headline features

• 28-300mm equivalent zoom range; F4-5.6 maximum aperture
• Compact design
• High speed internal focus system
• Micro Four Thirds mount for Olympus and Panasonic cameras

Angle of view

The pictures below illustrate the focal length range:

14mm (28mm equivalent)	150mm (300mm equivalent)

Olympus M. Zuiko Digital ED 14-150mm 1:4-5.6 specifications

Price	� US: $600 � UK: �630
Date introduced	February 2010
Maximum format size	Micro Four Thirds
Focal length	14-150mm
35mm equivalent focal length	28-300mm
Diagonal Angle of view	75� - 8.2�
Maximum aperture	F4-5.6
Minimum aperture	F22
Lens Construction	� 15 elements / 11 groups � 2 ED glass elements � 3 aspherical elements (1 is ED glass)
Number of diaphragm blades	7, rounded
Minimum focus	0.5m
Maximum magnification	0.24x (0.48x 35mm equivalent)
AF motor type	Micro Motor
Focus method	Internal
Image stabilization	via camera body where available
Filter thread	� 58mm � Does not rotate on focus
Supplied accessories*	� Front and rear caps
Optional accessories	� LH-61C Lens Hood
Weight	280 g (9.9 oz)
Dimensions	63.5 mm diameter x 83 mm length (2.5 x 3.3 in)
Lens Mount	Micro Four Thirds

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

With the new breed of mirrorless interchangeable lens cameras becoming ever-more popular, manufacturers face a development dilemma. It's not enough to simply churn out camera bodies; to convince potential buyers you have an attractive system, it's essential to provide a decent range of lenses too. But lens systems are hard to establish; concentrate your design resources on affordable lenses for enthusiasts and you risk your system not appealing to the high-end users who are likesly to buy multiple lenses. Focus instead on high-end exotica, and you risk making the step up from the kit-zoom look too daunting (and expensive) for the majority of users.
Perhaps because there are two manufacturers involved, the Micro Four Thirds lens range has balanced the needs of these two audiences well - there are a handful of sub-$400 lenses for enthusiasts, with alternatives such as the recently-announced Panasonic Lumix Vario G 12-35mm F2.8 ASPH OIS and the Leica-branded Summilux DG 25mm F1.4 for the higher-end user. Now, as a counterpart to Olympus's comparatively affordable M.Zuiko Digital 45mm F1.8 portrait lens, comes its more lofty 75mm F1.8.
The 45mm F1.8 is a lovely lens precisely because it offers great image quality while offering an attractive balance of size, price and weight. However, its mainly plastic construction makes it clear that there are trade-offs being made. By contrast, the 75mm features very solid-feeling all-metal construction and those rarely-inexpensive words 'Made in Japan' etched into the body. Sure enough the 75mm is expected to sell for more than twice the price of the 45mm.
Olympus describes the 75mm as a 'high grade portrait lens.' With its 150mm-equivalent field of view it's a little bit longer than the traditional 85-135mm range, that was classically used for portraiture on 35mm cameras. Its minimum focusing distance of 0.84m means you can get pretty close to your subject, however the long effective focal length limits how close you can sensibly work with people (because your narrow field-of-view gives quite a tight crop when working close to your subject).
The F1.8 maximum aperture provides decent control over depth of field, too, offering the ability to blur-away distracting backgrounds and focus attention on your subject. In this respect it behaves much like a 100mm F2.4 lens would on an APS-C camera, or a 150mm F3.5 lens on full frame. This makes it an attractive proposition for its primary purpose of photographing people.
The lens needn't just be used for portraiture, though. Olympus suggests it will also be useful for stage, studio and indoor sports work, and we see little reason to disagree with this. A 150mm-equivalent lens is still a useful thing to have in many circumstances, especially if it's as portable as the Olympus.

Headline features

• 150mm-equivalent focal length
• F1.8 maximum aperture
• 'ZERO' optical coating to reduce internal reflection
• MSC Movie and Stills Compatible (quiet) focus system

Olympus M.Zuiko Digital ED 75mm F1.8 specifications

Price	� US $899.99
Maximum format size	Four Thirds
Focal length	75mm
35mm equivalent focal length	150mm
Angle of view	16�
Maximum aperture	F1.8
Minimum aperture	F22
Lens Construction	� 10 elements in 9 groups � 3 Extra-low dispersion glass elements � 2 High Refractive Index glass elements
Number of diaphragm blades	9, rounded
Minimum focus	� 0.84m / 2.76ft
Maximum magnification	� 0.1x (0.2x in 35mm terms)
Minimum field size	� 130 x 173mm
Focus method	Internal
Filter thread	� 58mm � Does not rotate on focus
Supplied accessories*	� Front and rear caps
Optional accessories	� LC-61 Metal lens cap � LH-61F Metal hood with thumb-screw fitting � LSC-0918 Lens Case
Weight	304g (10.8 oz)
Dimensions	63.5mm diameter x 69.5mm length (2.5 x 2.9 in)
Lens Mount	Micro Four Thirds

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

Specifications

Body type
Body type	Rangefinder-style mirrorless
Sensor
Max resolution	4608 x 3456	?
Other resolutions	2560 x 1920, 1024 x 768	?
Image ratio w:h	4:3	?
Effective pixels	16.1 megapixels	?
Sensor photo detectors	17.2 megapixels	?
Sensor size	Four Thirds (17.3 x 13 mm)	?
Sensor type	CMOS	?
Image
ISO	Auto (200 - 1600), 100, 200, 400, 800, 1600, 3200, 6400, 12800	?
White balance presets	8	?
Custom white balance	Yes (1)	?
Image stabilization	Sensor-shift	?
Uncompressed format	RAW
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Selective single-point Tracking Single Continuous Touch Face Detection Live View	?
Digital zoom	No
Manual focus	Yes	?
Number of focus points	35
Lens mount	Micro 4/3 Lens Mount
Focal length multiplier	2�	?
Screen / viewfinder
Articulated LCD	Tilting	?
Screen size	3"	?
Screen dots	460,000	?
Touch screen	Yes
Live view	Yes	?
Viewfinder type	Electronic (optional)	?
Photography features
Minimum shutter speed	60 sec	?
Maximum shutter speed	1/4000 sec	?
Aperture priority	Yes	?
Shutter priority	Yes	?
Manual exposure mode	Yes
Subject / scene modes	Yes
Built-in flash	No (bundled external flash)
Flash range	7 m (bundled FL-LM1)
External flash	Yes (Clip-on FL-LM1 included, Hot-shoe)
Flash modes	Auto, On, Off, Red-Eye, Fill-in, Slow Sync, Manual (3 levels)
Continuous drive	Yes (8 fps)	?
Self-timer	Yes (2 or 12 sec)
Metering modes	Multi Center-weighted Spot
Exposure compensation	�3 EV (at 1/3 EV, 1/2 EV, 1 EV steps)	?
AE Bracketing	(2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV steps)
WB Bracketing	Yes (3 frames in 2, 4, 6 steps selectable in either blue/amber or magenta/green axis)	?
Videography features
Format	MPEG-4 H.264 Motion JPEG
Microphone	Stereo
Speaker	Mono
Resolutions	1920 x 1080 (30 fps), 1280 x 720 (30 fps), 640 x 480 (30 fps)
Storage
Storage types	SD/SDHC/SDXC	?
Connectivity
USB	USB 2.0 (480 Mbit/sec)	?
HDMI	Yes (Mini HDMI type-C)	?
Wireless	EyeFi	?
Remote control	Yes (Optional RM-UC1)
Physical
Environmentally sealed	No
Battery	Battery Pack	?
Battery description	Lithium-Ion BLS-5 rechargeable battery & charger	?
Battery Life (CIPA)	360	?
Weight (inc. batteries)	325 g (0.72 lb / 11.46 oz)
Dimensions	111 x 64 x 38 mm (4.37 x 2.52 x 1.5")
Other features
Orientation sensor	Yes
Timelapse recording	No	?
GPS	None

Original Article:www.dpreview.com