Olympus Pen E-P1

It is easy to get the impression that what is here today may be gone tomorrow when confronted with the rapid evolution of digital photography equipment. But exceptions do exist, such as the Olympus Pen E-P1 which bares the symbol of an established immortal. What makes this camera so exceptional that it has earned a place in the hall of fame of digital cameras?

To answer this, we must first take a quick trip through the history of the Pen brand. Today’s digital model is a descendent of a long line of cameras with the same name, a name that first appeared exactly fifty years ago with the release of the first cine-film Pen in 1959. Over 17 million of these small agile reflex cameras of the so-called “half format” variety were sold worldwide. However, the digital Pen is not – as Olympus claims in its promotion material – a reflex camera, yet it is not a compact camera either. So you may wonder, what concept does this camera then represent?

Olympus PEN EP-1 Olympus PEN EP-1

The Olympus Pen E-P1 is a camera of the so-called Micro Four Third (or Micro 4/3) standard. It is specified by a sensor approximately one fourth the size of a cine-film field (17.3 × 13 mm), that is, a chip that is very similar to sensors found in Olympus and Panasonic reflex cameras. The difference is in a different bayonet lens mount. Unlike traditional reflex cameras, the Pen E-P1 has a different size, lens design, and is located closer to the sensor. Due to this precise fact, devices with the Micro 4/3 standard cannot be designed as reflex cameras – the mirror and other components simply do not fit in the small space between the bayonet and the sensor. However, this is not a mistake, but rather the intention of the creators of this new standard.

Olympus Pen E-P1 – in short
Resolution 12 Mpx, sensor stabilization
Optics depending on the lens
Video HD (1 280 × 720 px)

The goal was to reduce the size of traditional reflex cameras, while maintaining their excellent image capturing capabilities. This has been accomplished primarily with the use of a large sensor. Note that digital compacts have a sensor approximately 7 x 5 mm, often even smaller. By removing the mirror, the mechanical parts of the camera have been minimized resulting in a significant reduction in vibration during exposure.

Olympus PEN EP-1

The basic technical characteristic are as follows: The Olympus Pen E-P1 is a camera with a “reflex camera sensor,” exchangeable lenses, but unlike reflex cameras it is designed as a compact device without a viewfinder (even though the mountable viewfinder – as you will learn below – can be user in a limited extent). Even though, on photographs, Pen actually appears as a common compact, which was designed by the manufacturer in retro style, notice carefully its dimensions and, in particular, its weight. With regard to size and weight, Pen lies in-between reflex cameras and compacts.

Olympus PEN EP-1
Photo Olympus

The Pen body itself is manufactured in two versions, which differ in their surface finish. Other than the nearly classic design, which combines polished and ground metal coating on the surface with black complements, it is also possible to purchase a white-coated version with cream-colored parts. The image shows the white version of a Pen with an optional open leather case.

Olympus PEN EP-1

As mentioned earlier, the Olympus Pen E-P1 is “a compact camera with exchangeable lenses.” Because it is a system released only recently, at the moment there are only two lenses available from this brand. One is the basic zoom Olympus M.Zuiko Digital 14–42 mm F3.5–5.6, the other is a monofocal so-called “pancake” Olympus M.Zuiko Digital 17 mm F2.8. To get an idea of the angle of the image with relation to cine-film you have to multiply the focus of the Micro 4/3 system lens by two due to the smaller sensor. For example, 17mm M.Zuiko Digital corresponds roughly to the capturing angle of classic 35 mm cine-film.

Super Features
Top image quality
Retro design
Functions

Because the open Micro 4/3 standard is used not only by Olympus but also by Panasonic, you can also use lenses by this manufacturer for your Pen.

Olympus PEN EP-1 Olympus PEN EP-1

As mentioned earlier, the Olympus Pen does not have an optical or electronic viewfinder. However, if you photograph using the flat lens Olympus M.Zuiko Digital 17 mm F2.8, you can use the external viewfinder, which is part of the Pancake Kit. As you might notice, the manufacturer did not equip Pen with a built-in flash. If you need flash, you can opt for the Olympus FL-14, which was developed just for the Pen. The other external system flashes compatible with Olympus reflex cameras will work with the Pen as well.

Olympis PEN EP-1

Most of the control elements are located in the right back side of the camera. Notice here two non-traditionally designed but fully functional rollers/control wheels. This label is not accurate however, because the top one has the shape of a vertically oriented roller in the top right corner, the second roller then simulates the circle around the four-way select switch. For example, in the manual exposure mode you use one to set the aperture, the other to set the time, in other modes perhaps also aperture and exposure correction. In addition, it all depends on your user settings because the camera enables the photographer to redefine many functions according to his or her own needs.
Users of Olympus digital reflex cameras will be immediately familiar with the menu, as it is de-facto identical. This relates to the outstanding availability of functions, which is not lacking in such features as an electronic level, multiple exposure, or the option to join two images directly in the camera. Following the example of the new Olympus reflex cameras, the Pen is also equipped with the so-called ArtScenes – six motive programs, which quite significantly modify an image’s appearance. A few of these are the Camera Obscura, Pop-art and Grainy film.

Overall evaluation

The Olympus Pen E-P1 is an excellent camera for anyone who prefers the size and weight of digital reflex cameras but does not want to give up their high image quality. It represents an ideal companion for travel and for so-called street /report photography. It is less suitable for capturing quick action scenes such as in sports. The image quality is outstanding while the control and interface are intuitive and it has a menu in a number of languages.

Common price (at the time of this review being published)
Body only: $749, £599, €749
Kit including a 14–42 mm lens: $799, £699, €749
Kit including a 17 mm lens and optical viewfinder: $899, £749, €849
Kit including both lenses and viewfinder: $ TBC, £849, €949

Basic technical data

Sensor

Live MOS 17.3 × 13 mm
12 Mpx (4,032 × 3,024 px)
Sensitivity ISO 100 Sensitivity 6,400
Stabilized sensor

Optics

According to lens

Memory medium

SD, SDHC

Data formats

Image: JPEG
Video: AVI

Video

1,280 × 720 px, 30 fps
640 × 480 px, 30 fps
Stereo sound PCM/16bit, 44.1 kHz

LCD

Screen size 3” (76 mm)
230,000 px

Power supply

Li-Ion battery

Dimensions and weight (body only)

121 × 71 × 35 mm (w × h × d)
380 g (incl. battery and memory card)

Leica D-Lux 4

It is no coincidence that the historically first camera review on Week of Life introduces Leica D-Lux 4. Author of this project, Adolf Zika, himself captured his One Year of My Life using this camera. The majority of compact digital cameras represent simple automatic devices for a common user, one who requires a nice design, simple handling, and of course, good images. But even among pocket devices one can find models that could be labeled professional. The Leica D-Lux 4 belongs at the top of such models.

The austere shape of the metal coated black body of the Leica D-Lux 4 with the essential red round logo suggests at first glance that this is not just an ordinary camera. Experienced photographers also notice the hot shoe for external flash on top, which is another unmistakable sign of a state-of-the-art camera.

Leica D-Lux 4 Leica D-Lux 4

The Leica D-Lux 4 is truly a professional compact camera in all aspects. The optics—from the same brand of course—has a not-that-wide range of 24–60 mm, the shooting angles are set from a wide aperture to normal, however the lens speed of F2,0–2,8 is fantastic. Moreover, the lens is equipped with optical stabilization, so you can photograph even in very unfavorable light conditions.

Leica D-Lux 4 – in short
Resolution 10 Mpx
Optics 24–60 mm, stabilization
Video HD (1 280 × 720 px)

The D-Lux 4 is a camera equipped with all exposure regimes P/A/S/M plus common motive programs or full automatics. So even an absolute beginner will be able to handle the device. Besides the standard JPEG it is possible to store image data also in RAW, which enables more accurate and extensive computer modifications, which is a feature for more experienced photographers.

Leica D-Lux 4

Regarding dimensions and weight, the Leica D-Lux 4 does not deviate from the digital compacts class in any way. The construction leans slightly more towards design rather than ergonomics—the smooth body lacks distinct support for a firmer grip. However, Leica sells a small grip for the right side of the camera as an optional accessory.

Leica D-Lux 4 Leica D-Lux 4

The built-in flash is constructed as retractable and is operated by a small button on the top side of the device. You can also purchase an external flash Leica CF 22 with a higher output. The manufacturer used the surface along the perimeter of the lens ring interestingly—two sliding controllers are placed at this point. With the scroll bar on the left side you can quickly change the focus mode, using the top control you can easily change the image aspect ratio to one of the three options: 4:3, 3:2 or 16:9.

Super features
Fast optics
Top image quality
Compact dimensions
Olympis PEN EP-1

You can find more controls on the right of the back side of the Leica D-Lux 4. Apart from the standard buttons and a four-way select switch, an inconspicuous Q.MENU joystick is also located here, which can be used to enter and operate the so-called quick menu, which contains the most commonly used image parameters.

As a state-of-the-art camera, D-Lux 4 enables the display of a histogram. This device is supported in two regimes—realistic for image composition or preview for viewing already taken photographs. This regime also allows the display of an indication of overexposed parts of images.

Leica D-Lux 4 Leica D-Lux 4
Photo Leica

Photographers, who have not gotten used to the method of composing images using the LCD display—despite having an excellent resolution of 460 000 image points and thus providing an outstanding image—can opt for an optional accessory, which is offered by Leica, an external optical viewfinder, which is placed in the hot shoe. But you must take into account that the viewfinder is monofocal—displaying the image from only one perspective, the widest 24mm aperture of the camera.

Other accessories which can be purchased, include, for instance, a luxury leather bag in retro style.

Overall evaluation

The Leica D-Lux 4 is a top-of-the-line digital compact, which provides high quality images. You will get the maximum out of this camera if you use the RAW format and convert images using the standard supplied software Capture One (which is a quality ? in itself). However, thanks to well functioning automatic modes, this camera will definitely not be lost in the hands of a beginner either.

A small inconvenience is the price of the camera. For seven hundred USD you can purchase an amateur digital reflex camera, so it can be assumed that the Leica D-Lux 4 will be purchased primarily by true connoisseurs and fans of this legendary brand. It must also be noted that Leica manufactures this model in co-operation with Panasonic. If you purchase the almost identical model Panasonic Lumix DMC-LX3, you will save nearly a third of the price.
Common price (at the time of the review being published): $699

Basic technical data

Sensor

CCD 1/1,63″
10 Mpx (3 648 × 2 736 px)
Sensitivity ISO 80 to 3 200

Optics

24–60 mm F2–2.8
Optical stabilization

Memory medium

SD, SDHC, MMC, Built-in memory 50 MB

Data formats

Image: JPEG
Video: MOV

Video

1,280 × 720 px, 24 fps
848 × 480 px, 30 fps
640 × 480 px, 30 fps
320 × 240 px, 30 fps, 10 fps
Mono sound

LCD

Screen size 3” (76 mm)
460,000 px

Power supply

Li-Ion battery

Dimensions and weight

109 × 62 × 51 mm (w × h × d)
260 g (incl. battery and memory card)

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Up on the Roof

A lofty idea is blossoming in cities around the world, where acres of potential green space lie overhead.

If buildings sprang up suddenly out of the ground like mushrooms, their rooftops would be covered with a layer of soil and plants.

That’s not how humans build, of course. Instead we scrape away the earth, erect the structure itself, and cap it with a rainproof, presumably forgettable, roof. It’s tempting to say that the roofscape of every city on this planet is a man-made desert, except that a desert is a living habitat. The truth is harsher. The urban roofscape is a little like hell—a lifeless place of bituminous surfaces, violent temperature contrasts, bitter winds, and an antipathy to water….

Up on the Roof

A lofty idea is blossoming in cities around the world, where acres of potential green space lie overhead.

By Verlyn Klinkenborg

If buildings sprang up suddenly out of the ground like mushrooms, their rooftops would be covered with a layer of soil and plants.

That’s not how humans build, of course. Instead we scrape away the earth, erect the structure itself, and cap it with a rainproof, presumably forgettable, roof. It’s tempting to say that the roofscape of every city on this planet is a man-made desert, except that a desert is a living habitat. The truth is harsher. The urban roofscape is a little like hell—a lifeless place of bituminous surfaces, violent temperature contrasts, bitter winds, and an antipathy to water.

But step out through a hatch onto the roof of the Vancouver Public Library at Library Square—nine stories above downtown—and you’ll find yourself in a prairie, not an asphalt wasteland. Sinuous bands of fescues stream across the roof, planted not in flats or containers but into a special mix of soil on the roof. It’s a grassland in the sky. At ground level, this 20,000-square-foot garden—created in 1995 by landscape architect Cornelia H. Oberlander—would be striking enough. High above Vancouver, the effect is almost disorienting. When we go to the rooftops in cities, it’s usually to look out at the view. On top of the library, however, I can’t help feeling that I’m standing on the view—this unexpected thicket of green, blue, and brown grasses in the midst of so much glass and steel and concrete.

Living roofs aren’t new. They were common among sod houses on the American prairie, and roofs of turf can still be found on log houses and sheds in northern Europe. But in recent decades, architects, builders, and city planners all across the planet have begun turning to green roofs not for their beauty—almost an afterthought—but for their practicality, their ability to mitigate the environmental extremes common on conventional roofs.

Across town from the library, the Vancouver Convention Centre is getting a new living roof. Just across the street there is a chef’s garden on the roof of the Fairmont Waterfront hotel. Across town in another direction, green roofs will go up on an Olympic village being built for the 2010 Winter Olympics. To stand on a green roof in Vancouver—or Chicago or Stuttgart or Singapore or Tokyo—is to glimpse how different the roofscapes of our cities might look and to wonder, Why haven’t we always built this way?

Technology is only partly the reason. Waterproof membranes now make it easier to design green-roof systems that capture water for irrigation, allow drainage, support the growing medium, and resist the invasion of roots. In some places, such as Portland, Oregon, builders are encouraged to use living roofs by fee reductions and other incentives. In others—such as Germany, Switzerland, and Austria—living roofs are required by law on roofs of suitable pitch.

And, increasingly, researchers such as Maureen Connelly—who runs a green-roof lab at the British Columbia Institute of Technology—are studying the practical benefits green roofs offer, helping quantify how they perform and providing an accurate measure of their ability to reduce storm-water runoff, increase energy efficiency, and enhance the urban soundscape. There is beginning to be a critical mass of green roofs around the world, each one an experiment in itself.

Another factor driving the spread of green roofs is our changing idea of the city. It’s no longer wise or practical or, for that matter, ethical, to think of the city as the antithesis of nature. Finding ways to naturalize cities—even as nature itself becomes more urbanized—will make them more livable, and not only for humans.

Living roofs remind us what a moderating force natural biological systems are. During the summer, daytime temperatures on conventional asphalt rooftops can be almost unbelievably high, peaking above 150°F and contributing to the overall urban heat-island effect—the tendency of cities to be warmer than the surrounding region. On green roofs the soil mixture and vegetation act as insulation, and temperatures fluctuate only mildly—hardly more than they would in a park or garden—reducing heating and cooling costs in the buildings below them by as much as 20 percent.

When rain falls on a conventional roof, it sheets off the city’s artificial cliffs and floods down its artificial canyons into storm drains—unabsorbed, unfiltered, and nearly undeterred. A living roof works the way a meadow does, absorbing water, filtering it, slowing it down, even storing some of it for later use. That ultimately helps reduce the threat of sewer overflows, extends the life of a city’s drain system, and returns cleaner water to the surrounding watershed. London, for example, is already planning for a future that may well see more street flooding, and the city is considering how living roofs could moderate the threat.

Above all, living roofs are habitable. They recapture what is now essentially negative space within the city and turn it into a chain of rooftop islands that connect with the countryside at large. Species large and small—ants, spiders, beetles, lapwings, plovers, crows—have taken up occupancy on living roofs. The list includes Britain’s black redstarts, a bird that colonizes the rubble of abandoned industrial sites, a habitat being lost to redevelopment. The solution fostered by Dusty Gedge, a British wildlife consultant and a driving force behind green roofs in the United Kingdom, is to create living rooftop habitat out of the same rubble.

And it’s not just a matter of making new or replacing existing habitat. In Zürich, Switzerland, the 95-year-old living roof of a water-filtration system serves as a refuge for nine species of native orchids eradicated from the surrounding countryside when their meadow habitat was converted to cropland.

Proponents of living roofs argue that they have met most, if not all, of the technical challenges involved in grafting a biological layer onto the top of buildings of almost any scale: everything from a vegetable stand or bus stop to the ten-acre roof of Ford’s truck plant in Dearborn, Michigan. While the average cost of installing a green roof can run two or three times more than a conventional roof, it’s likely to be cheaper in the long run, thanks largely to energy savings. Vegetation also shields the roof from ultraviolet radiation, extending its life. And it requires a different kind of care, akin to low-maintenance gardening.

There are still philosophical challenges to be met, many of them having to do with the very idea of what a roof should be and how it should perform. Clients tend to want roofs that are easy to maintain and are uniformly green year-round, perpetual lawns in the sky, not seasonal grasslands. Builders and architects tend to want interchangeable, standardized, universal solutions, the kind of green-roof systems now being offered by some of the big corporate players in the living-roofs industry.

A living roof, though, is not just a biological alternative to a dead roof. It requires a different way of thinking altogether. A standardized green roof such as a carpet of sedums is better than a conventional roof, but it’s possible to build living roofs that are even more environmentally beneficial—locally grown, so to speak. The goal for some researchers now is to find ways to build living roofs that are ecologically and socially sound in every respect: low in environmental costs and available to as many people as possible.

Stephan Brenneisen, a Swiss scientist and a strong advocate for the biodiversity potential of living roofs, says simply, "I have to find easy, cheap solutions using materials that come from the region." That means less reliance on plastics and other energy-intensive materials between the roof structure and the plants themselves. What matters isn’t only whether living roofs work. It’s how to make them work in the most sustainable way, using the least energy while creating the greatest benefit for the human and nonhuman habitat.

Last fall, I climbed onto the roof of the 15-story Portland Building in downtown Portland, Oregon. My guide was Tom Liptan, the city’s Ecoroof Program Manager and a self-confessed storm-water nerd, who began his experiments with green roofs by building one on his own garage in 1996. We walked to the parapet across plantings of sedums and fescues and looked down at the roof of Portland’s city hall several stories below us. It has a conventional black tar roof, the kind of roof we have taken for granted for decades. But as part of Portland’s Grey to Green project—a plan for sustainable storm-water management—that building will soon be retrofitted with a living roof. "The employees want it," Liptan said.

In the history of that municipal building, how often had the people who worked there ever thought about that black tar roof looming over their heads? Once the living roof is completed, they may visit it only rarely, but they won’t forget that it’s there, adding habitat to the city center, filtering the rain, moderating temperatures. It reminded me of something Stephan Brenneisen said: "People feel happier in a building where we’ve given something back to nature."

Think of the millions of acres of unnatural rooftops around the globe. And now imagine returning some of that enormous human footprint to nature—creating green spaces where there was once only asphalt and gravel. If a certain sum of human happiness is the by-product, who’s to complain?

© 2009 National Geographic Society. All rights reserved.

Photo1

Photograph by Diane Cook and Len Jenshel

A garland of nature crowns Chicago’s City Hall, softening the hard edges of a town famous for steel and stone—and lowering summer temperatures on the roof. Inspired by a worldwide movement, Mayor Richard Daley has made Chicago North America’s leading "green roofs" city.