The invitation to coffee that will almost assuredly cost me $1500.

This is the new OM-D with a Leica 25mm f1.4 Summilux hanging off the front.

I should have used caller I.D.  I should have feigned some contagious illness but I didn't.  I accepted an invitation to have coffee with my photographer friend, Frank, and now I think it's going to cost me.  Big time.  You see, I've been trying to avoid looking at the OM-D EM-5 directly.  When I go to Precision Camera I avert my eyes away from the Olympus case and chant, over and over again, "Sony. Sony. Sony."  I've been an Olympus Pen fan since the 1970's and I've been a digital Pen fan since the first day the EP-2 hit the stores.  Especially with the grace note of the elegant VF-2 electronic viewfinder perched regally but functionally in the accessory shoe.  I rushed out to buy the first EP-3 in town and it's so good I thought I'd never want to upgrade to a new Pen so quickly.

But there it was.  Unassuming but gaunt and with hip understatement.  Frank knew how to play me.  Like a sommelier showing off a wonderful vintage bottle of Petrus.  Almost daring me not to try a sample. He reached into his Domke bag and pulled out the OMD and presented it to me with the ultimate, modern Olympus lens cleverly clicked into the lens mount.  It was the 45mm 1.8, a lens that compels me to never sell a Pen body again.  Not even to make room for a new one.

I lifted the camera up, switched on the power and brought it to my eye.  I was expecting the same electronic viewfinder performance I got with the VF-2 because the specs are similar but it was nicer.  More refined.  The optics in front of the screen were clearer and cleaner.  The image was so well calibrated that I could move my eye from the finder then to one side to directly observe the object I'd focused on and the effect was almost identical.  The finder easily rivals the clarity and color accuracy of the Sony a77 or Nex7 EVFs.  

At this point you can head over to DPReview and read all the specs.  You can also read their test reports.  They'll tell you that the OMD is on par with the best of the APS-C cameras, like the Nikon D7000 or the Canon 60D.  That the high ISO is clean as fresh laundry right up to 6400 ISO.  That the buffer is quick to clear with the right cards.  That the frame rate nearly twice as fast as a D800.

But here's the one thing they won't tell you and it may make all the difference in the world to you if you are a camera sensualist:  It has the nicest and quietest sounding shutter I've heard since the Olympus e1 camera from 2004.  But it's even quieter and more refined than that high water mark of shutter elegance.  It may be the perfect camera shutter from a auditory point of view.  The sound of the the shutter is what I imagine the door of a Bentley car feels like when it shuts.  Reason enough to own the camera even if it were only as good in the files as its predecessor...

But as the web at large will tell you, the images are wonderful.  

I don't have any first hand information (yet) about the images.  But I trust some of my friends who got their cameras early and have been raving about them ever since.  No one is bothered by the much discussed noise from the image stabilization, in my crowd.  I put my ear to the camera while sitting at an uncrowded Starbucks at the end of the day and I couldn't hear it at all.  If the noise bothers people they must be living in anechoic chambers and shooting with the cameras right next to their ears.  The camera had me at......'snik'.

If you plan to get one I'm recommending the black body because it looks so stealthy with the Leica 25mm mounted on the front.  It also looks really good with the black battery grip attached. More advice?  If you don't already have a collection of Pen or Pan lenses then forego the kit lens and select the 12mm Olympus, the 25mm Leica/Panasonic and the 45mm 1.8.  You'll have the important bases covered and the whole kit will weigh less than a Canon 24-105mm L lens (without body attached!!!).  If you want to branch out you'll find a good mix of lenses between Olympus, Panasonic, Leica and Sigma. Not to mention the millions of other brand lenses you can press into service with the right adapter.  It's an amazing leap forward for Olympus.  Did I mention how much I liked the EVF?  Oh?  I did?  Okay.

An interesting portrait starts with the eyes.

I went for a walk and ended up on Congress Ave.  I saw this small boy sitting in a milk crate attached to his dad's bike.  I stopped to photograph the little guy.  Of course I asked his father's permission first.  Why make people uncomfortable?  He looked right into my camera.  I like the image a lot.

I was using a Panasonic GH2 with the Olympus 45mm 1.8 lens attached.  I have no idea what the exposure was and I used face detection auto focus to get place focus.  The original was a Raw file but it needed no intervention so I guess a Jpeg would have been just as good.

Two snaps and we were done.  Love the yellow sunglasses.

A small camera I've been playing with. Yesterday. Panasonic G3. The pre-OM-D.

 Tiny, Light, Fast, Detailed, Sharp, Quiet, Compact and Cute.  90% of the way there.  Olympus did a great job with their PR for the upcoming OM-D camera.  Everyone I know who has an interest in mirrorless cameras is talking about it, saving up their money to buy one and rushing to get themselves on a list.  And who can blame them?  It looks like everything we've pined for over the last few years.  Not to mention that the whole mirrorless m4:3 universe now has some powerhouse lenses as booster rockets for our insatiable imaging.  In some camps the OM-D is starting to sound a bit like the second coming of the camera industry.  But here I go again:  The relentless contrarian.

  

While I researched the OM-D I came across a camera that sounds eerily like the camera we've all been waiting for....only it's been on the market since June of 2011.  It has the following specs:  Fastest focus in all of m4:3rds (arguably),  The best 16 megapixel sensor in all of m4:3rds as stated by DPReview and DXO.  A built-in 1.4 megapixel EVF finder.  A swivelling, large rear LCD panel.  And a brilliantly implemented touch screen interface.  OMG did they launch the OM-D early and not tell anyone till a few weeks ago???  No, it turns out that Panasonic has been building and delivering this camera for the better part of a year. It's called a G3.  But for some reason no one seems to care.  Except the Panasonic users who are currently hoarding them and shooting them.  There are only two features that the G3 doesn't deliver that are on the OM-D checkboxes:  Full Navy Seal weatherproofing (for all you rugged types who routinely photograph deep in the jungles with rain and blood spattering your cameras hither and yon).  And, built in image stabilization.  That's about it.  The sensor is already there.  A full two stops better noise performance (by some accounts) than the EP3 at higher ISOs.  But I picked one up, with the 14-42mm zoom lens for a bit under $600.  Turn key. All done.  No waiting list.  No fuss.

Without a doubt the OM-D will trample the G3 when it comes to body construction and design.  It's in a whole different bling class than the plastic-over-aluminum frame construction of the G3.  There's no way to stick a battery grip on the G3 (that I know of) and the jpeg colors of the OM-D will probably take the G3 to school.  But....it's a great sensor and a great implementation of controls and it's cheap.  I've had one for a couple days but yesterday was the first day I had a few spare hours to go downtown and give the G3 a run through.  So let me give you my opinion.  And remember, this is all about my impressions.  We don't do technical tests here at the VSL secret, underground labs.  Our massively parallel supercomputing nest is dedicated to data mining the epicenters of creativity.  We can't allocate computing resources for something you can easily discern with your eyes and your hands (haptics rears its beautiful head....).

But, in fact, I have come to praise the G3, not to bury it.  I'll admit that I don't keep up with every camera announcement from every camera manufacturer.  I had the prejudice that Panasonic made cameras in only two m4:3 flavors:  The button and dial laden, professional GH2 with its EVF and then a slew of smaller, less capable cameras with only LCD screens on the back and the option of adding a vastly inferior EVF.  At least that's what I saw the last time I took a look.  

But, when I finally focused on the relatively new line of cameras Panasonic had on the market I saw I was mistaken.  The G3 is reviewed to have better noise performance by a small amount, than the GH2.  The AF system samples at 120 Hz just like the EP3 so the performance is comparable.  The EVF has similar specs to the current state of the art in the Olympus segment.  And, while the G3 body, with its limited supply of external controls, takes a bit of time to get used to I can see that the menu driven touch screen is viable and, in most cases fast to use.

When we talk about contrast detection auto focus a prime variable in the overall performance equation is the sampling rate which is driven to some extent by the speed/throughput of the processing sensor.  The AF motor moves the lens through the range of distance until it find the peak of contrast in the scene you've put in front of its sensor.  It must repeatedly sample and shift and then sample and shift until it isolates the setting that gives the highest level of contrast.  Within the sampling are latency periods where, once sampled the information must be processed and compared.  Reducing the time of the latency periods and increasing the frequency of the sampling are the two ways to increase the speed of the system.  The GH2 and the G3 were first to increase the sampling speeds from 60 Hz to 120 Hz (they both use the same "Venus" processor).  The EP3 also adapted that strategy and added optimized lenses in order to further increase the speed and allow them to boast of having the ultimate AF speed amongst mirrorless cameras.  The new OM-D AF seems to be based around increasing the sampling performance of the AF circuitry to 240 Hz.  Whether or not we'll see improvements in lenses that are not optimized for the new processor initiative remains to be seen.  But today, right now, the EP3, the GH2 and the G3, in good lighting conditions, are all just as fast as I need them to be and they are more accurate with higher speed (bigger aperture) lenses than their DSLR brethren.

I have not used the G3 in any configuration other than raw format and I haven't used it yet with any other lens than the 14-42mm kit lens that came packaged with the body.  The lens seems to do a good job with most close up scenes but when I look at my building shots at 100% I see a little softness as we get into near infinity focus.  That's easy to fix.  You just put on a better lens.  The 14-42 kit lens doesn't seem to garner many kudos and yet, for around $125 with built in IS I think it's a good value.  Especially for routine, close-to-mid distance shots.  I'll spend some time with the camera and the Panasonic/Leica 25mm 1.4 Summilux in the next few days and I think that should make a huge difference in overall quality.  Even so, in the samples I have here I'm not disappointed.  On screen the 16 megapixels are sharp and the noise at everything I shot under ISO 800 is non existent.

There are two things about the G3 that I didn't think I'd like.  I was wrong.  Serves me right for pre-judging.  The first is that the camera  doesn't have the dandy automatic switching between the EVF and the LCD (cost savings concern, no doubt).  You have to do it manually, with a button.  But that's fine with me because I want to use the EVF for everything except final review and menu setting.  I don't want the screens to swap every time my hand moves past the little sensor.  Especially when mounted on the tripod in the studio.  Panasonic engineers are smart though.  You can set a menu setting so that when you hit the "play" button to review what you've shot the camera automatically switches to the LCD.  There when you need it but not switching when you don't.    I prefer it this way.  Thank goodness for cost saving measures.

The second thing I was prepared to dislike was the touchscreen interface.  But I ended up liking it a lot.  Mostly because it's user programmable.  You get to choose the five different menu items you most use and you put them on the screen.  I chose ISO, focus settings, WB, file formats, and exposure compensation.  Now, to use any of these settings all I have to do is hit the "Q" menu button and directly access the menu item on the screen.  The screen is pressure sensitive rather than capacitance sensitive.  It has positive feedback.  This is quick and easy and you can program whatever controls you use most often.

So, if you add it all up it's a pretty convincing little camera.  Detractions?  The styling is a bit pedestrian.  The lack of IS bothers me when I think about using prime lenses with no built in IS, and the body feels a plasticky.  But you have to consider the other side of the equation.  For about half the price of the announced, but not available, OM-D you get a camera with a sensor that's probably very close to what will be in the OM-D and, for all practical purposes will be very close in raw performance.  You get a fast focusing camera.  Maybe not as fast as the new Olympus when the Olympus is coupled with the state of the art lenses but almost certainly in the same league with most of the existing lenses.  You get a fun and more flexible implementation of  the touch screen technology and that makes this camera interesting to me and the people who are looking for straight out performance over additional features.

But it all goes back to one of my basic premises:  Most modern cameras are really damn good.  If your technique is good and you learn the interfaces you should be able to get almost indistinguishable files from all of them.  The lowest common denominator will be generally be your user chops and the level of interest inherent in your subjects.  I am currently using the GH2 in manual mode for a lot of my studio work and I'm happy with its on-the-final-screen performance.  The G3 makes me re-think my lust for the newer cameras.  Could it be that Panasonic had the level of sensor performance last year that we're waiting for from Olympus with bated breath this year?  Is the AF performance on the G3 almost comparable?  Aren't they all in the same family?  Won't all the lenses work interchangeably?

I don't have any doubt that the new OM-D will have features that makes it more desirable than the older Panasonic G3.  I want in-body IS.  I like the idea that it will be the best IS in the history of the galaxy.  Almost as good as my old tripod!!!  And I'm sure that the Jpeg color engine will be the industry leader.  Finally, there are a legion of people who are crying out for weather proofing.  I have to say that I've yet to lose a camera to rain or dust but I've only been shooting for a few decades.  I'm sure other people have experienced camera failures as a result of exposure.  I'm a disciple of the Ziploc bag religion of camera protection but I fully acknowledge the right to exist of weatherproofarians no matter how extreme I find their belief systems.  The Olympus will be a nice package.  In the way that a BMW is an upgrade to a Honda.  But, like the car analogy, there will be some who want the sensor and AF performance who don't have the budget for the premier offering.  If they don't need built-in Ziploc Bagging, and they can live with the AF that comes resident on some of Panasonic's better lenses, and they can live with the stigma of a "lesser" model, they may find the absolute performance to be pretty much the same.  

What a terrible realization for me to present you with on President's Day.  I thought we had the whole m4:3rds thing all figured out.  The OM-D was to be the Holy Grail of little cameras and we would all be happy and content once we acquired one.  Funny how the market works and funnier still how my vision narrows close to launch dates and expands again while I'm awaiting delivery.  Once again the G3 serves to remind me that we've all been here before.  We're always hopeful about the silver bullet that will take our art to the next level only to find that all it delivers is photographs with a little bit more detail, a little bit faster focus and a little bit steadier steadiness.  In this case perhaps no more resolution than what we can get right now, not much more high ISO noise reduction than we get right now and AF that is marginally faster for a handful of new lenses that we don't yet own.  Our consolation?  The new camera is very nice to look at and feels very nicely balanced in our hands.  We hope.

The bottom line?  I don't know that there is a bottom line.  The camera world is a chaotic place with little camps swirling around banners.  In one corner we have the full frame 35mm high res contingent for whom everything hinges on ultimate resolution and sharpness.  We have, of course, our micro four thirds camp where we look to blend high performance with high usability and high portability (after all, what good is all the gear if it's too cumbersome to carry?).  We have the pilgrims of nose bleed performance who have knotted the ropes of high intention around their photo vest frocks and set out into the desert in pursuit of the mysteries of medium format, and we have the legions of people traipsing around willy-nilly with their iPhones snapping a glorious quantity of interesting  frames and then shoving them through the kaleidoscopic blender to make them more.....appealing.

I've been beaten over the head with the idea that there is no "right or wrong."  That all approaches are worthy and equal.  That there's an equivalence of sorts whether you use an 8x10 inch film camera or your happy-snappy phone to create your images.  While I tend to veer toward a more defined philosophy where effort has value and is integral to the process I won't confuse things by arguing that today.

Where I will comment is on the performance of Olympus' promotional machinery.  Well done, marketers.  In a short amount of time you created a tremendous amount of buzz, filed us with desire we barely knew we had, deflected our attention away from similar products and got us all excited.  If the product they deliver does everything they say it will be a monumental success, and, no doubt, it will be a hell of a lot of fun to shoot with.

The G3 is no OM-D but it's a hell of a lot closer than a lot of people might like to believe.  I think I'll go out and shoot with mine again today.  After all, it's already in my hands.