The E-3 Interview
On the day before The E-3 was announced, I flew to New York City to be part of the event. They gave me the opportunity to interview Ms. Sally Smith-Clemens, Product Manager of Olympus Imaging America, Mr. Richard Pelkowski, Product Manager Digital SLR of Olympus Imaging America, and Mr. Toshiyuki Terada, Product Planning Manager Olympus Tokyo. All in all it was a very unique opportunity to talk with the brains behind the Olympus E-3
Introduction: I had just spent all day flying. I woke up at 3 AM for the flight, because the I-5 was closed (or so I thought that morning) flew 5 hours, and jumped in a Taxi to arrive approximately 1 hour late for our interview. But when I got there the environment was much calmer.
All of the questions came out of the interview. They are for the most part not direct quotes, but the material taken both from my sluggish memory, and a tape recorder.
- The Magnesium Alloy Body -
As I walked in, the group was talking about the new body so we started with that. (Really it is an amazing piece of engineering. )
Tony: How is the E-3 Made?
Mr. Pelkowski: The casting process is called thiximold and it is similar to plastic injection molding. So instead of just having a mold like a sand caster or lost foam where you pour the molten metal on one side and then it comes out the exhaust hole on the other side, it takes some technology from plastic injection molding in terms of putting it through with a little bit of pressure and also has a vacuum at the other end so it very evenly draws the metal through the form that it’s going to be cast into. There are basically 2 benefits to this process. First, is the great strength because of the way it pulls everything through evenly, so you don’t have voids, air cavities and so forth. Second, it allows you to use a mold that has a very fine point of definition. The result is that the body is nearly ready from the mold, with very little work needed to clean it up for inside the body.
Tony: Is that the same way that the E-1 was built?
Mr. Terada: No, the E-1 is just normal conventional casting.
- Totally Redesigned –
For Some companies it seems that a totally redesigned camera means a new camera, which has a new sensor. But as you will see, as well as parts I have left off, the E-3 has been totally redesigned. It is as Mr. Pelkowski said, “The new E-3 is totally new, the circuits are brand new, the main casting is new, the shutter, mirror unit, and focal sensor are all redesigned. We think it’s a tremendous amount of camera for the money, the only thing it shares with the E-1 are the lenses that is uses, the accessories, (flashes, shutter releases, etc), and the BLM-1 (battery).”
- The Vertical Grip -
I had made a comment about the price point of the vertical shutter release; Mr. Pelkowski said, “It’s going to be very affordable, too. We’re going to announce that at a $199 retail price.” I asked if that included a second battery. “It’s just a grip, but the double A battery holder is planned to also be included. In addition, the vertical grip will be weather sealed, just as with the E-3. The vertical grip is more than an extra battery holder. It’s a full-featured battery grip. It does have a main dial, and shutter button on it, a lockout button, a function button, and an AF selection point button.” So just to clarify the vertical grip will take 2 BLM-1 batteries, but it does not come with a second battery. It should come with a AA battery adaptor. (Which I personally think is very nice to have as a backup).
- The Flash system -
Mr. Terada explains about the built in flash on the camera “The main reason to install the built-in flash is to remotely control the flash. Now we are launching the new wireless flash system that will control the Fl-50R and FL-36R. The built in flash system is using its flash as central command.”
Tony: “So how does the wireless flash system work, as a slave?”
Mr. Terada: “No, it also works in TTL mode. It, through the controller, can send out the information to the flashes as it fires for true TTL control. In addition to that, we have set up 3 different flash groups that we can send the information up to about 10 meters away.”
Tony: “How else have you changed the flash system?”
Mr. Terada: “We have changed the basic circuit board inside of the flash, and some other minor changes of the hardware.”
Tony: “Will it recycle faster?”
Mr. Terada: “No, that output of the flash is the same as the current one, we have added various function controls.”
Tony: “So the first question on the forum will be, Can we add a module for the existing flashes?” Mr. Terada explained that it would not be possible. “How many flashes in total can we control?”
Ms. Smith-Clemens explained: “you can control up to 200 flash units, Realisticly through many will not need more than 4 flashes per group (3-groups available-total of 12 flash units) would probably be more than most need as this is quite a few.. If , however, you are shooting someone running down a track and you want set up many flash units to fire as they’re going down the stretch then you could fire the groups as they come around the corner.”
Tony: “Can we use a FL-50(R) or FL-36(R) to control the wireless flashes?”
Mr. Terada: “No, the additional flashes cannot fire quick enough to send the signal to the wireless flashes.” We would have to play with it, but we think that if you wanted to fire some flashes remotely, and then plug a FL-50 in to FP1, you could probably use a flash attached to the camera as well.
- The LCD -
Once again we are in a new area for both Olympus, as well as other SLR camera makers. A movable LCD on a SLR is a totally different world than that of point and shoot camera.
Tony: “How does the LCD differ from that of the E-410 & E-510?”
Mr. Terada: “Basically, the LCD itself is the same basic component. However, the circuitry, controller, and the illumination sensor are all new. Although, it still offers a 170-degree viewing angle. When we planned to build this camera we had the possibility of including a 3-inch LCD. For live view, however, there wasn’t enough space to make it moveable on the body, and so for practical use this is much better.”
- Video and USB output –
That led us into a conversation about having both video out and the ability to control the camera within Studio at the same time. On the E-410 and E-510, with the right cable, it is nearly possible. However, you have to switch the camera control button back and forth within Studio. So I asked the group if it would be possible to use both at the same time within the E-3.
None around the table had worked on the output capabilities in this project. They had been involved with other parts of the project, but Mr. Terada did believe that it would be possible, because of a separate terminal with standard USB, and video out. But time will tell on that question. Mr. Terada explained why they used the hybrid connector on the E-410 and E-510. “Basically on the E-410 and 510 it is a consumer camera. We had to keep cost low. That is why we made the combination terminal like a compact camera. But this is a totally different level of product. We need a separate terminal to use both connections at once.”
- AF explained -
The E-3 is built for speed. Really, that is its main goal, and that is what it promises. For it to truly be a useful camera, it must have a shutter which keeps up with the internal processor, as well as it must be able to focus. If any one of the 3 aspects fails, then having a fast camera is useless.
A key factor with the E-3 is its new focus abilities. So to help me understand this better, I tried to get a bit more info. Here are the facts that Mr. Pelkowski so finely explained, “[The Auto Focus of the E-3 is a] big spec. Because when I look at our competitors, I’m seeing specs down to -1 EV, -0.5 EV nothing that’s -2. So it looks as though the low-light focusing threshold with this camera is very high performance [which no one touches].” So I tried to get an analogy for how low one could go in terms of light. We couldn’t put a definitive answer on this. We turned off the lights, and I tried to focus on anything in the room, even a dark (either navy, or black) coat, and was successful instantly. I was only using 1 of the 11 points. I am impressed.
Overall the E-3 uses new motors both within the new lenses, and new technology in the shutter, and even in Image Stabilization, to help the camera move faster, including newly designed focusing pattern (up to 44 points in total), as well as pixel multiplication technology. It is similar technology to Bright- Capture which amplifies the output signal for to make it easier to detect . Does the camera focus better than that of the E-1? 1000 times better, and probably as much as 100 times better than the E- 410. Even with older lenses the camera will be much quicker to focus. (A bit more about this is in part 2.) Again new technology embedded into the E-3 that we haven’t seen before.
- Sensor Technology -
The E-410 and 510 basically share the same sensor, at least on paper. However, it’s not quite as simple as that. First of all the sensor is at least 6 months more mature than the original. Also Mr. Terada promises that inside of the sensor has changed. . Also “the data pathway has been reconstructed to make it faster”, according to Mr. Pelkowski. Mr. Terada explained, “for example, the amplifier circuit inside of the camera is changed. This contributes to the sensor getting a wider dynamic range.”
As you see in the chart above the 10mp diagram shows that the actual light acceptor is larger than from the previous generation of sensors, which were found on the L1 and E-330. All in all the E-3 should have a greater dynamic range of the E-330, L-1, E-410, and E-510. (I do not have the data at this time to compare it with the E-1)
- Of Image Processors -
Basically I have 2 questions in here. First and foremost in my mind was with all this talk about TruePic III, does that effect both Raw images or just Jpeg’s? And second, will Olympus work to get third party applications to support the E-3 quickly? First question that I had been dying to ask and flew across the USA to ask (Ok not really, but I have been wondering about this for some time); Does TruePic III somehow affect the Raw images or just the Jpeg’s. Basically if I understood Mr. Terada, the raw files are true to their name, they are raw and untouched from the sensor, just lossless compressed. It is when you either convert them to Jpeg’s or process them in an application such as Studio that the TruePic III adjustments are made. Very powerful software. So it seems that TruePic III is powerful but only if you shoot jpeg’s or use Studio.
Second, and the last question for tonight, is about raw converters. Basically, I think that I for one gained a proper understanding of why Olympus in the past has been apprehensive about endorsing third party applications, because in the past the quality has been poor. On the other hand, I raised a couple points. If I were to buy into a system, it would be a very big deal for me if the camera wasn’t compatible with my existing software. (Also, does anyone remember how bad ACR (Adobe Camera Raw) was with E-1 files? It was very poor.) However, now things are getting better on both ends. All in all I think that Olympus could figure out a way to help third parties quickly develop quality raw converters, without totally giving up all control. But I think in time we will see.
The E-3 interview part 2
As I continue to go through my notes I wanted to get part 2 up as soon as possible…
- The Buffer -
My next questions revolved around the buffer and how it works. I learned that the camera is rated for unlimited jpeg’s at five FPS, or 16 files when shooting raw. I timed the tape and the 16 frames filled up in a little over three seconds. After that, the camera shot at around two frames per second.
So what happens when the card is filled and you still have shots left on the buffer? Basically, all you have to do is pop out the full card, and then put in an empty one. Once again pure quality from Olympus. They have thought of everything.
-DNG -
There has been a lot of talk on the forum in the last few years about Adobe’s DNG file format. Basically it’s still is a long way off from being accepted by all camera manufacturers. So since I had some of the biggest names in the fourthirds world at the table I thought that this would be a great question to ask. Basically there are a few big advantages to shooting DNG. Foremost it is a stopgap until third party raw developers support the new raw files. Some software developers only update their raw converters a couple times a year, so getting software support for a new camera can take time.
However as Mr. Pelkowski explained “It’s important for us to only have the best development modules out there. While we would like to see as wide of support as possible [with raw developers], at the same time we don’t want people to have a misperception about the color [and image] quality of other companies on the market.”
It is understandable in my opinion for Olympus to have apprehensions about giving control over the camera’s image controller. But perhaps if they can team up with companies such as Adobe, the quality can be as good or even better than what photographers are currently getting from Studio.
Mr. Terada said that DNG support depends on the demand from the market.
“We feel that there is not a big push in the market for DNG, it depends on the market request. However, because we are the camera manufacturer, we will support our raw file forever. The market is asking a lot, but DNG is a minor requirement.” Mr Terada said.
- Image Stabilization -
Next I asked about how the Image Stabilization differs from that of the E-510. Basically the Image stabilization has been refined with the E-3. As Ms. Smith-Clemens explained, “The electronic gyroscope in the E-3 is more sensitive and is able to pick up more precisely normal breathing and normal mirror slap.”
“The E-3 offers a 5-step EV [exposure value] correction compared to the 4-step correction of the E-510” Ms. Smith-Clemens said.
The Olympus corporate staff had an E-510 which they had opened up to show first hand how it adjusts for camera shake. I was quite tired and loaded up on Caffeine, so I was very shaky, but the image stabilization was able to keep up with my shaky hands. The new spec for the E-3 says that it will stabilize up to five stops, however, we will see in real life how good it does.
Knowing that you can use legacy lenses on the E-3 with the OM-1 adapter, I was curious about image stabilization, legacy lenses and the E-3. I asked the Olympus staff if there were any plans in the future for this feature.
Mr Terado said, “Currently the E-3 is not able to use image stabilization [with legacy lenses], but we are researching this possibility.” He went on to explain that in reality it is much more complicated than just knowing the focal length of the lens.
“For manual lenses we do not know how far away a subject is being focused, and so image stabilization will not be nearly as effective, but to have this capability is important to us” Mr. Terado said.
- Ability to retrofit lenses -
Now that Olympus has started to release lenses like the 50-200 in a SWD version, I asked if they had any plans to retrofit any of the older super high quality lenses. The new lenses are created very differently than previous generations and the mechanism within them will most likely make retrofitting impractical. The truth is, as Ms. Smith-Clemens said, “all the lenses are going to focus much quicker with the E-3 than with any previous body.”
For the actual results, we will have to wait and see in the coming months.
Mr Terada explained the new life of old lenses by saying “We have tested the 300mm with pro-sports photographers and they have given us the impression that the E-3 in combination with the 300mm is now at an acceptable level of focus speed.”
“We have to consider which lenses, in priority, we will change over. As well as, we are going to look at the development of some single focal length [prime lenses]” Mr Terada said. No matter what, it looks like we should see more prime lenses to be released in the near future.
- Operating Temperature of the camera -
The E-3 is specs say that it should operate between 20-100 degrees (0-32C). I asked the Olympus staff why there is this limit to the camera‘s functionality, and Mr. Terada explained that in reality they had tested the camera to work in -15 Celsius. Mr. Terada went on to say that there are two major limitations to digital photography in extreme temperatures, “first, the battery and second, the LCD” (as he pointed to the LCD at the top of the camera).
Mr Terada went on to say that he did not believe the internal autofocus temperature sensor was a limiting factor. So once again I am sure that in January and February we will see how truly rugged the E-3 is when the adventurous photographers set about to photograph Toronto. (I probably will be out at that time, maybe wearing shorts, so I will not be testing its durability in the cold this winter)
Note: The new AF sensor has a temperature sensor built into it which checks the housing of the AF sensor for changes, expansion/contraction, to maintain accurate focusing.
- The new Teleconverter EC-20 -
Teleconverters have many advantages as they increase magnification. However, this addition often ends up with a few disadvantages as well. First there is often a degradation of image quality. Second is loss of light. With the EC-14 there is a loss of one stop of light, but I haven’t noticed any loss of quality with my images. I have very high hopes and expectations for the EC-20. All that Mr Pelkowski could say was “We’ve got one working copy of the teleconverter and gave it to John Issac, an Olympus Visionary-Pro Photographer, and he reported very good results with it.”
Mr Terada also brought up this good point, “Our teleconverter’s can be used with every lens. Many manufacturers cannot use a teleconverter with every lens, because the camera cannot focus, because the aperture is too dark.”
“For example a famous photographer in Japan put the 2x teleconverter on the 8mm fisheye and was taking photos of butterflies. Without the teleconverter he would not have enough working room. The teleconverter gave him working room, and a wider angle of view, to make these beautiful shots that otherwise would not be possible” Mr Terada said.
On the topic of teleconverters I finally asked if it would be possible to stack them, and the answer is no, because the camera cannot communicate with the lenses. Just like it’s impossible to use two EC-14’s stacked, it will also be impossible to stack two EC-20’s or one EC-14 with a EC-20.
- The Super Sonic Wave Filter -
Since the E-1, we have seen that Olympus was willing to address new issues that the digital age of photography has brought to life. One of these was dust on the sensor. For example, when you are in the field and a photo requires you to change a lens in a dust filled environment.
Back in the day’s of film you would just advance the film by one frame in the camera. Since there are no frames to advance on a digital camera, there is only one digital sensor to be concerned about. In the latest generation of digital cameras we are seeing more and more manufacturers beginning to pickup on technology that has been well implemented in the Olympus system for years.
For example – other manufactures are beginning to develop Super Sonic Wave filters themselves. However, from my interview I got the impression that they only shake on two axes, (an up and down motion), where as the SSWF on the E series uses three axes (x,y,z) similar to shaking a rug. Overall it is much more effective and tests have shown this. (I am working on getting some simulation videos to post in the next few weeks)
- Conclusion -
Overall to get the opportunity like this to sit down with the corporate staff was one of the greatest honors in my photography career. I am deeply honored to have the opportunity to get this first look at the camera, all in all Olympus was a gracious host, and I am really looking forward to seeing more opportunities for fourthirdsphoto and Olympus to come together in the future. |
