optimised for the platform and this
advantage would probably be lost
with gratuitous increases in resolu-
tion. Already offering in camera
stablisation on all but the entry
level models, the E-450, E-620 and
E-30 gradually adjust the balance
between consumer and professional
controls (though the higher end
models also offer more “consumer”
features, such as art filters) whilst
also offering surprisingly little
differentiation in offered resolu-
tion. This is not so unlike the days
of film cameras, where enthusiasts
could spend surprisingly small or
large amounts yet still have the
same essential image recording
technology, and really does mark
Olympus out as placing photog-
raphy ahead of “marketing” when
planning their product range.
Having not used the E-450 – it
was announced after the London
event – I got to compare my exist- found it incredibly intuitive to use;
ing E-510 with the E-620 and E-30 demand was high, so I resorted to using
models; the E-510 is of an earlier my own flash equipment for my shots
generation and the differences in whilst watching others experiment.
sensor technology are apparent. With a fun event, including
Both of the new mid-range cam- a photographic competition and
eras share sensor technology and lights/boards for portraits, Olympus
processing engine so choosing the gave people a chance to really play
cheaper model (the difference be- with the cameras – a refreshing
tween the E-30 and E-620 is £300) change from many of the launches
does not come with a drop in the I’ve attended recently. As if that
basic image quality of the camera. were insufficient inspiration, David
I personally preferred the build of Bailey hosted a Q&A session (and
the E-30 and the ergonomics, of suffered the indignity of a fairly
the larger body, but the E-620 is intrusive portrait courtesy of my
a very small camera indeed given 1960s P&K ringflash). I did not win
the articulated LCD and optical any prizes for my pictures, but I did
viewfinder. come away with more understand-
The E-30 was impressively ing of what Olympus is aiming to
intuitive. Full-frame may be an accomplish in the marketplace,
excellent bragging right, but the cementing their position as the
performance of the Zuiko digital camera platform for enthusiasts
glass is exceptional (the prices do and creative photographers and
reflect the quality) and it’s hard to using the Four-Thirds sensor’s size
view the E-30 as anything other and performance benefits to offer
than a professional body – the small, light yet professional bodies.
fun scene and overlay modes are In a marketplace dominated by
there in addition to, rather than two big brands, Olympus are often
instead of, impressive professional overlooked yet their core quali-
features such as WB bracketing, ties have remained. As a footnote,
in-camera AF adjustments for when I returned from the trip I
multiple lenses and at each indi- caught a mid 80s Bond film on TV,
vidual AF points and five metering and the opening sequence featured
modes. The E-620 retains most of an OM4Ti prominently. The position
these features, and both cameras of the SLR as a status symbol is
feature fast and silent contrast AF enjoying a resurgence, and perhaps
in LiveView mode rather than the this well engineered and compact
more common setup of lowering range will once again be the think-
the mirror, focus, and then raise ing enthusiast's choice.
the mirror again. It's worth remem- – Richard Kilpatrick
bering that the filters create raw Á
files; in the case of the overlay, a Images taken with Olympus
new raw file is produced – this is cameras at the event: Mark
no choice between creativity and Pattenden (Bailey's assistant)
quality. and another photographer vying
Alongside the cameras, the for angles (E510); Bailey's Q&A
Olympus wireless flash system session (E510 with 7-14mm);
was demonstrated. This is really portrait using in camera
the second wireless “non-studio” monochrome filter (E-30 and
system I have experienced, and I ringflash). All © Richard Kilpatrick.
30
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