Wouldn’t it be interesting if camera sensors could see more of the light spectrum than our eyes could see? It would open up whole new worlds to our eyes, worlds that have been heretofore unseen and unexplored, and yet they’ve been right under our noses all along.
This is a hands-on comparison of the three flagship models in the Olympus EVOLT line, which was part of the Four Thirds System.
You can watch the video directly here.
Thanks for watching!
This is a hands-on comparison of three Olympus flagship cameras: the E-3, E-5 and E-M1X, which I made so you could see the progression in the design and the features of these models from 2007 to the present time. I own the E-3 and E-5 along with all of the PEN models. The E-M1X was on loan from Olympus Romania.
You may also want to see this post where I compare the E-M1X, E-M1 Mark III and the PEN-F.
You can watch this video directly here.
Wait, didn’t I just post about my E-3? Yes, I did. This is about a different camera that I bought recently, the E-330, which was part of the same EVOLT series of digital cameras — which was itself part of the Four Thirds System (the precursor of the Micro Four Thirds System). The E-330 was launched at the start of 2006, so it pre-dates the E-3 by almost two years. I found this one in almost new condition with a really low shutter count (only around 2000 exposures) and the 14-45mm f3.5-5.6 kit lens, at a really good price. I’d wanted to at least see the E-330 up close and use it ever since I reviewed the E-500, but I couldn’t get a hold of it back then. Fast forward to fourteen years later and now I have it.
The E-330 is such an interesting camera. It was the first interchangeable-lens-type AF digital SLR in the world to offer full-time subject framing via a rear-mounted LCD monitor. That’s right — the ubiquitous tilt-screen or articulating screen that’s a normal feature of mirrorless cameras nowadays was first offered on the Olympus E-330. Also a first was Live View, or what you might now call a live through-the-lens (TTL) display of your subject, so you could either use the viewfinder or the screen. I know you’re used to this kind of thing now, but back in 2006, this was amazing new technology.
There were two modes for Live View. In Mode A, you’d close a flap over the viewfinder and the camera would then focus on the subject matter by itself when you pressed the shutter button, and in Mode B, you could focus manually using the live display and a 10x macro view that allowed you to dial in the focus perfectly.
The E-330 also featured another Olympus innovation, SSWF (a dust reduction system) that had been introduced in 2003 with the E1 and then perfected with the E-500 and E-300. Having used the E1, E-500 and the E-510 and E-410 back in 2007, I can tell you this dust reduction system worked flawlessly. I never had to remove dust spots from the photos taken with Olympus cameras, while I was always forced to remove them from photos taken with other cameras. Also, this camera had dual card slots (CF and xD) and keep in mind this was not a top of the line DSLR, which is where you’d typically find this feature. Also, (bonus!) it uses the same batteries (BLM-1) as my E-3.
Another interesting feature of the E-330 was (and still is) MF (Manual Focus) Bracketing. This was in addition to WB, AE and FL Bracketing. MF Bracketing would let you select from options for 5-frame or 7-frame series with 1-step or 2-step focus shifting, and the camera would then take that series of frames, automatically moving the focus point bit by bit. This would allow you to do focus stacking in post production, or simply to select the frame that you felt had the best focus point. Nowadays Olympus cameras such as the OM-D series will not only do MF Bracketing, but also do in-camera focus stacking, combining those frames into a single image with better overall focus. This is great for macro photography, where the focus (or the depth of field) can get quite thin, to the point where it’s impossible to get the whole subject (insect, flower) in focus without focus stacking. This next image is an example of this feature.
The E-330 also has a pleasing and different design. Even though it’s a DSLR with an optical prism, it has no prism bump on top. It was just so different from other DSLRs of the time. It was this cute little camera with rounded edges and this unusual top. It’s a wonderful thing to behold and to hold in your hand. Yes, it has its limitations, but it’s so well-made and for its time, it worked brilliantly well. I also love that it has a remote control receiver that works with a universal Olympus remote (the RM-1), which allows me to control the camera wirelessly even in Bulb mode. I really enjoyed using it during the last week or so that I’ve had it, and I’ll look forward to using it again and again in the future.
Thanks for reading and enjoy the photos in the gallery enclosed here, they were taken with the E-330.
I bought an Olympus E-3 a couple of days ago. Its full name is the EVOLT E-3, and it was Olympus’ flagship DSLR back in 2007. It was announced on October 17, 2007 and it became available on November 23 of that same year. I realize it’s now 2020, thirteen years later, but I found it online in really good condition, with a low shutter count (only 8000 or so exposures) and at a good price. Other than a small crack in the lower left-hand corner of the LCD, this camera is in great shape and it’s a real joy to use.
I was present at the camera’s launch party in NYC on October 16, 2007. You can see my write-up of the event, with photos and video, in this post. I would have loved to purchase the camera at the time, but I was invested in Canon gear at the time. The E-3 was a great camera for its time, quite ahead of the competition in many ways. The supersonic dust reduction function that’s so common on all of the interchangeable-lens cameras nowadays was then only present on Olympus cameras, because they came up with it. The swiveling LCD, also ubiquitous nowadays, was a novelty only present on this camera and on an older model, the EVOLT E-330 DSLR. The in-body image stabilization, a big selling point on so many expensive cameras nowadays, was yet another feature that Olympus invented and was only present on their latest cameras such as their new flagship and other models launched that year. The E-3 was a dustproof and splashproof camera, and at least two of the lenses also launched with it, the Zuiko 12-60mm SWD f2.8-4 and the Zuiko 50-200mm SWD f2.8-3.5, were also dustproof and splashproof. This was incredible at the time. All these features and capabilities seem normal now, but they were extraordinary back then.
Here is a gallery of photographs of the camera. Please forgive the dust specks. These are real world photographs of equipment that’s actively in use. It’s not a photo shoot. I didn’t airbrush it. I didn’t clean all its nooks and crannies. I simply placed it on a piece of furniture and took these photos.
One of the big concerns with Olympus cameras at that time (around 2007) was their performance in low light (at high ISO settings). Typically there was quite a bit of noise at 800 ISO and above, but not so on the E-3, where low-light performance was much better than that of less expensive cameras such as the E-510, which had been launched earlier that year. The E-3 was a flagship camera after all. As a matter of fact, when I look at low-light photos taken with the E-3 now, they’re just as good as the “gold standard” of the day, the Canon 5D, and this is remarkable given that the E-3 could only gather half the light with its Four Thirds sensor size. Since 2007, the noise reduction capabilities of software such as Lightroom have also improved by leaps and bounds, to the point where high-noise photos from the past can look quite good when developed within the software. I admit that I also like a bit of noise. Sometimes I like a lot of noise (up to a point). It adds character to an image. Granularity, that organic quality of film that’s missing from crisp, clean and clear digital images taken at 100-200 ISO, tends to make a photograph more endearing.
When I began to use the camera in earnest, I looked for the mode dial out of habit. There wasn’t one where I’d typically find it. Believe it or not, I hadn’t noticed this at the camera’s launch event and surprisingly enough, I hadn’t noticed it in press photos of the camera either. Now I began to panic a bit. Where was the damned thing? Did it break off? After all, this was a second-hand camera. Where was it?!
It wasn’t to be found, because there isn’t one. I had to look up the user manual on the Olympus Japan website in order to find out that indeed, it didn’t break off and there isn’t one. You switch the mode by pressing the Mode button on the left-hand top side of the camera and by rotating the dial on the back of the camera. Once you do it, it becomes second-nature and you begin to wonder why other cameras have to have specific mode dials. After all, how often do you switch the mode? Really, how often? My cameras typically stay on Aperture priority virtually all of the time. I switch to Shutter priority when I have to capture high-speed images or when I want to force motion blur, but that’s seldom, and when I do night photography, I stick it in Manual mode, but really, the camera stays in Aperture mode most of the time.
I thought I’d do something now that I couldn’t do at the time of the E-3’s launch, which is to sit the camera side by side with my 5D and see how the two stack up. Which one’s taller? Which one’s wider? How do the grips compare? How do the various buttons compare? I was surprised to find out that the E-3 is just a bit taller than the 5D, and that the 5D is quite a bit wider, about 2 cm wider. You don’t feel this until you take the cameras in your hand. The E-3 sits a little better in the hand while you can feel the 5D’s center of gravity pulling it to the left a bit. I also like the E-3’s many buttons, which make it easier to get to certain features that are otherwise buried in the menus. And that’s another thing: the E-3 is packed with features compared to the 5D. The 5D’s design is simple and curved, while the E-3’s is angled, full of corners and turns and also some curves — like this lovely curve on the left hand side, near the lens release button.
The E-3 may have a more complicated design, but I like it. I liked this camera from the get-go, and I’m glad I could buy it now, almost thirteen years after it was made.
Having just compared the looks of two of the leading cameras of their day, I will also say this: comparing the features of various cameras in an effort to see which one’s better is useless. Yes, I mean that! It’s useless because in the end, what really matters are these two things:
- Do you like that camera? If yes, buy it.
- Can you take the photos that you want to take with that camera? If yes, buy it.
Worrying about this and that feature and why it is or it isn’t present on a particular model is a waste of time. Watching camera comparisons and reading reviews ad nauseam is useless. You need to know what you want from a camera, come up with a list of “finalists”, and then you need to go and hold those cameras in your hand and see how they fit you, see how easily you can access the functions that matter to you. Get the one that you like best. That’s it. I know this is a bit of a rant, and it’s as much addressed to me as it is to you, because in spite of knowing these things, I still tend to obsess over some features sometimes.
I got the E-3 with the 40-150mm f3.5-4.5 lens, which was at the time a premium version of the regular (kit) 40-150mm lens, whose aperture range was f4-5.6. This is a wonderful lens. And now that I have a Four Thirds camera, I will likely get other Four Thirds lenses, such as a wide zoom, a large aperture prime, perhaps a macro, a 35-100mm f2.0 SWD zoom, I’ll see…
I’ve been taking quite a few photos with the E-3 since I bought it, and I’ve been carrying everywhere with me. As I say elsewhere on this site and on other sites, I always have a camera with me. I seldom rely on my phone to take photos that I care about, simply because taking photos with a mobile phone is a constant disappointment to me when it comes to the quality of the images. In order to get proper keepsakes, you need a real camera, and the E-3 is a real camera. It’s a flagship camera and it feels like a flagship; it’s solidly made and it has withstood the test of time beautifully. Everything still works on it: all the buttons, all the switches, all the features — and the images I get with it are wonderful. I also love the mechanical sound of the shutter on it. The shutter sound is after all the most prominent sort of feedback one gets from the camera when they use it, and I want my cameras to sound good to my ears. The E-3 definitely sounds good. I’m so glad I had the chance to buy this camera after all these years!
I’ll leave you with a few of the images I’ve taken with it. Enjoy!