Brandymore Castle

The man behind the Olympus Pen cameras, the OM-1 and the XA, Yoshihisa Maitani died yesterday at age seventy six. He lived to see his Pen camera system reborn as the Pen Digital through the work and enthusiasm of a new generation of engineers. The new E-P1 is not an exercise in nostalgia but a camera that acknowledges its ancestry while breaking new ground with its mirrorless design, compact lenses and in-camera digital image processing. This photograph of my OM-2n looks a bit like a shrine in light of today's news. My original XA-2 bought circa 1986. A classic camera and novel industrial design from Maitani's hand.

I am collecting reviews and information about the Olympus E-620 here with the idea of replacing my E-510 with it. Reviews The E-620 (Four Thirds Photo) Review includes sample images (all JPEG). Techradar Olympus E-620 review CNET E-620 The E-620 is a revolutionary camera. It combines one of the most compact and lightweight DSLR camera bodies with an articulating LCD screen for use with Live View. I cannot imagine a more portable and flexible camera. It is perfect for a vacation or for getting views from unusual angles. Mount the 9-18mm ultra wide angle and you have an incredible camera for reportage, with its wide all encompassing view and deep depth of field. Olympus cameras are excellent starter cameras. The kit zoom lenses produce better image quality than most kit zoom lenses. You cannot find a better a value than the dual zoom lens kits. If you are an average person buying a DSLR and not a professional photographer, the E-620 does not fall "behind the competition on most coun...

It looks like the G1 is shaping up to be the manual focus lens fanatic's dream camera. A growing list of adapters is available from  http://www.rangefinderrestorations.com/photo_posts/G1adapterlist.html   or at  google docs  directly. I'd like to see an inexpensive adapter for Contax/Zeiss. I have the 50mm f/1.4 although I could use the Contax to 4/3 adapter with a 4/3 to m4/3 adatper. There is a lot of talk about using C-Mount cine and television lenses for ultra wide angle work, which is interesting, but I wonder how they will compared to the planned 7-14mm lens? I'm still waiting to see the HD video version of the camera. I'll be watching.

Manual focus lenses from the 1970s on usually have a mechanism to adjust the aperture during exposure so the lens can be held wide open while focusing to improve brightness. There is usually a pin extending from the lens into the mount throat or mirror box area. When mounting a legacy lens to a modern digital single lens reflex camera, this pin can sometimes contact surfaces in the mount throat, or possibly the mirror. It is dependent on the individual lens and camera model, so there is no general rule that applies. Since I purchased my Olympus E-510, I've collected a number of Rokkor lenses for Minolta cameras (and a X-700, which is a very nice 35mm film camera): 50mm f/1.4, 58mm f/1.4, 50mm f/1.8, 200mm f/4.5, 45mm f/2.0 (This lens makes a very compact camera mounted to the 510 and I like the color and rendering quality of despite it being very inexpensive lens.) Due to the small viewfinder and lack of focusing aids, such as a split prism, microprism collar and ground glass I was...

I like Olympus cameras. Ever since I saw and handled the OM-2 at the camera shop, when I was a teenager deciding on my first SLR camera (not that I could afford the OM's) and very impressed with the compactness of the OM-1 and OM-2 and performance of Zuiko lenses, I've had an affinity for Olympus. In recent years they have produced some amazing digital single lens reflex cameras, such as the first ones with Live View and the legendary E-1. But their marketing efforts have fallen short of what is necessary to explain the advantages of Olympus and Four Thirds photography. Olympus is running a photo contest , asking for images offering "proof" of the ability of their weather resistant cameras to go where most cameras cannot. This is at least heading in the right direction, emphasizing the extraordinary weather sealing that Olympus cameras have, the experience Olympus has with making tough, water-resistant cameras. If I wanted to take a camera with me while exploring cave...

I truly believe there is potential for creation of an online media publishing system centered around the style of visual journalism cameras like the G1 can create. The rhythm of shifting from video to still photography in the hands of a capable, creative visual journalist, could be expressed through an architecture and presentation suited to it. The combination of video and still images have the potential to create in the viewer a sense of surroundings, a picture of the whole event, seen two different ways. The mix of still and video is suited to the idea of "quick-slow" development, where first captures can be uploaded for rapid presentation with little or no information and then later, more images can be added, stories added to flesh out the first blush images. Video can be edited to explain and give context to the event or stories can be added to give context to the visuals. The combinations are endless, given a sufficiently flexible system. Brief posts of video or stills...

I am very excited about the Micro Four-Thirds format and the G1 camera from Panasonic. I have not decided whether I will purchase one or not, since my decision depends on the specifications and performance of the lenses. I am intrigued by the possibility of mounting the 7-14 ultra wide angle Panasonic has in their roadmap. It could make one of the most compact, lightweight and portable ultra wide angle kits to be found in any camera system. The 4/3 sensor size and lens design could provide very good edge sharpness for UWA work. I truly believe the G1 (and G1 with HD video) could be an online journalist's dream machine. With its articulating LCD and Live View, it can easily move between video and still photography. It is extremely small and lightweight, perfect for carrying all day or unobtrusive photography. The twisty LCD and live view means images can be had from all angles and heights. It is the perfect combination for online photo and video journalism once it can shoot HD video...

Although this is not a new topic to the members of various internet forums, the new inexpensive DSLRs introduced in the last year are bringing a significant number of lapsed film photographers into the DSLR marketplace. Many old OM-System shooters, who owned OM-1's and OM-2's back in the 1970s (Lucky you! I made do with the closest alternative for a small light weight camera, the classic Fujica ST-605 , which will always be close to my heart). There are a lot of young photographers who see the OM lenses sold on ebay and wonder what it's like to use the old manual focus, fix focus lenses. To use OM lenses on your E-System camera (E-510, E-410, E-1, E-3, E-330, E-300, E-500 as of this writing), I have posted a brief illustrated article on how to mount the adapter, where to get one and some hints using the OM lenses.

The MD 45mm f/2.0 has an excellent reputation as a sharp prime lens with good bokeh. I wondered how it compared to the "designed for digital" ZD 40-150mm f/3.5 zoom lens that came with the the E-510 two lens kit. I shot photographs with the 45mm and the zoom at 45mm as close to f/4 as I could. The result is in my picasa album. This was shot with the MD 45mm at f/4 using manual focus and Live View to adjust focus. And here is the ZD. Click on the image to get the larger version. This was shot with the ZD 45-150 @ 45mm f/4.1 in manual focus using Live View. If you look carefully at the lower edge of the MD picture you can see "La Plata" is clearer than in the ZD image. It appears the MD prime has better edge sharpness than the "telecentric" and "designed for digital" kit zoom. This despite the 45mm was designed for a 35mm camera and is probably at least 20 years old, that its image circle is being cropped to 4/3 and probably extraneous light is bou...

I've been experimenting with LightZone to duplicate the effect available through a Photoshop action, which I am told employs layers of sharpening and Gaussian blur to achieve a heightened but smooth contrast. The effect is really attractive, beautiful and heightens the sense of form in a color photograph, to give it some of the essence of a black and white photograph. I have a strong affinity for this look. This is my first try, with two pairs of sharpen and blur effects, one for shadow and one for highlight, stacked this way: SH Zone Shadow, GB Zone Shadow and SH Zone Highlight, GB Zone Highlight. The result is a good first approximation to the effect I'm looking for. The sharpening is set to enhance local contrast and the blur layer above it smooths out any graininess and blends the tones together. The action I am trying to duplicate is Midnight Black available from Action Central . I have not downloaded or examined this action to reverse engineer it, because I wanted to see ...

During the summer, I bought an Olympus E-510 digital single lens reflex camera. The 510 is a FourThirds camera and because of the of shallow flange of the 4/3 lens mount it is one of the most flexible cameras on the market when it comes to mounting legacy optics (lenses from traditional film SLRs). A 4/3 camera can mount "legacy optics" or lenses from several other manufacturers made before the DSLR era. Although unintended, this makes FourThirds a revolutionary mount. For the first time not only can a photographer mount lenses from different manufacturers who produce lenses to the "open" FourThirds standard, with inexpensive Chinese-made adapters lenses from nearly any manufacturer from the golden age of SLRs can be mounted as well. Third party adapters can be found for Olympus OM, Nikon, Pentax, Zeiss and Contax. The only one missing from the party was Minolta. I purchased an inexpensive OM to 4/3 adapter from ebay and mounted several OM lenses, a 50mm f/1.8, 50m...