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94-557: The original Pen was introduced in 1959. It was designed by Yoshihisa Maitani , and was the first half-frame camera produced in Japan. It was one of the smallest cameras to use 35mm film in regular 135 cassettes. A series of derivatives followed, some easier to use with the introduction of exposure automation, e.g. the Pen EE; others with a wider aperture lens and a manual meter, such as the Pen D. In 1966

188-511: A Leica IIIf ; because he regarded it more as a hobby than a career, he enrolled in Waseda University to study automotive engineering, but continued to spend his free time in photography. After Sakurai learned that Maitani had filed a camera patent as a student, he recruited Maitani to work for Olympus. When he started with Olympus, the company sent him to the factory for two years to learn practical aspects of manufacturing before moving to

282-510: A rotary shutter which enabled them to be X-synchronized at all shutter speeds including 1/500 s. The Pen Rapid EE.S and Pen Rapid EE.D were variants of the Pen EE.S and Pen EE.D designed to accept the Agfa Rapid cassette instead of the regular 35mm cassette. They were both made from 1965 to 1966, and met very little success. The Digital PEN series is a wide range of mirrorless interchangeable lens digital cameras made by Olympus. They use

376-412: A 30mm f/2.8 lens or a 28mm f/3.5 lens. The Pen D was a more expensive model, launched in 1962. It has a 32mm f/1.9 lens, a shutter going to 1/500 and an uncoupled selenium meter. The Pen D2 , launched in 1964, is the same model with an uncoupled CdS exposure meter replacing the selenium one. The Pen D3 , launched in 1965, is the same with a 32mm f/1.7 lens. The Pen EE was introduced in 1961 and

470-755: A 36 × 24 mm frame of 35 mm film. As another example, the Pentax K200D 's sensor (made by Sony ) measures 23.5 × 15.7 mm, while the contemporaneous K20D 's sensor (made by Samsung ) measures 23.4 × 15.6 mm. Most of these image sensor formats approximate the 3:2 aspect ratio of 35 mm film. Again, the Four Thirds System is a notable exception, with an aspect ratio of 4:3 as seen in most compact digital cameras (see below). Most sensors are made for camera phones, compact digital cameras, and bridge cameras. Most image sensors equipping compact cameras have an aspect ratio of 4:3. This matches

564-491: A built-in flash, or a touch screen . Olympus claimed the E-P3 to have the world's fastest autofocus system. The next model in this range was the E-P5 from 2013. It got some of its new features from the more professional OM-D E-M5 , like the new 16 MP sensor and along with it, the 5-axis sensor stabilization system, and a tilting LCD screen . It had the max. shutter speed of 1/8000s, which

658-412: A cold flash shoe. It was only produced between 1964 and 1965, and today fetches high prices on the collectors' market. The Pen EM , produced from 1965 to 1966, is a motorized Pen model. It has a 35mm f/2 lens, and a CdS exposure meter allowing automatic or manual exposure. The Olympus PEN F series of cameras were half-frame SLR cameras produced between 1963 and 1970. The cameras were unique in using

752-609: A frame of APS -C film, with a crop factor of 1.5–1.6; or 30% smaller than that, with a crop factor of 2.0 (this is the Four Thirds System , adopted by Olympus and Panasonic ). As of November 2013 , there was only one mirrorless model equipped with a very small sensor, more typical of compact cameras: the Pentax Q7 , with a 1/1.7" sensor (4.55 crop factor). See Sensors equipping Compact digital cameras and camera-phones section below. Many different terms are used in marketing to describe DSLR/SLT/mirrorless sensor formats, including

846-469: A full-frame, and 28mm to a 40mm. The original Pen is a very compact half-frame camera , with just a viewfinder, no meter and fully manual settings. It has a 28mm f/3.5 Zuiko lens. Its shutter settings are 25, 50, 100, 200, B; its aperture range from 3.5 to 22. The back is removed completely for film loading and unloading. The Pen S is almost the same camera, with the following shutter settings: 8, 15, 30, 60, 125, 250, B. It existed in two versions, with

940-415: A given fixed photon flux per pixel area (the P in the formulas); this analysis is useful for a fixed number of pixels with pixel area proportional to sensor area, and fixed absolute aperture diameter for a fixed imaging situation in terms of depth of field, diffraction limit at the subject, etc. Or it can be compared for a fixed focal-plane illuminance, corresponding to a fixed f-number , in which case P

1034-434: A hot shoe. The Pen EF , launched in 1981, was the last Pen model. It is like the Pen EE.2 or Pen EE.3, but with a small built-in flash, and was only sold in black finish with white lettering. It also functions at a larger range of shutter speeds. The Pen W or Pen Wide is a very rare variant of the Pen S model, with a wide-angle 25mm f/2.8 lens, equivalent to a 35mm in full format. It only exists in black finish, and has

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1128-671: A lens aperture is where λ is the wavelength of the light passing through the system and N is the f-number of the lens. If that aperture is circular, as are (approximately) most photographic apertures, then the MTF is given by for ξ < ξ c u t o f f {\displaystyle \xi <\xi _{\mathrm {cutoff} }} and 0 {\displaystyle 0} for ξ ≥ ξ c u t o f f {\displaystyle \xi \geq \xi _{\mathrm {cutoff} }} The diffraction based factor of

1222-407: A lens of a given focal length gives a narrower field of view in such cameras. Sensor size is often expressed as optical format in inches. Other measures are also used; see table of sensor formats and sizes below. Lenses produced for 35 mm film cameras may mount well on the digital bodies, but the larger image circle of the 35 mm system lens allows unwanted light into the camera body, and

1316-450: A lens with the same f-number and angle of view, with a size proportional to the sensor crop factor. In practice, simple scaling of lens designs is not always achievable, due to factors such as the non-scalability of manufacturing tolerance , structural integrity of glass lenses of different sizes and available manufacturing techniques and costs. Moreover, to maintain the same absolute amount of information in an image (which can be measured as

1410-421: A limiting factor. And even at short or medium exposure times, a few outliers in the dark-current distribution may show up as "hot pixels". Typically, for astrophotography applications sensors are cooled to reduce dark current in situations where exposures may be measured in several hundreds of seconds. Dynamic range is the ratio of the largest and smallest recordable signal, the smallest being typically defined by

1504-693: A pixel's photoreceptor the geometrical extent (also known as etendue or light throughput) of the objective lens / pixel system must be smaller than or equal to the geometrical extent of the microlens / photoreceptor system. The geometrical extent of the objective lens / pixel system is given by G o b j e c t i v e ≃ w p i x e l 2 ( f / # ) o b j e c t i v e , {\displaystyle G_{\mathrm {objective} }\simeq {\frac {w_{\mathrm {pixel} }}{2{(f/\#)}_{\mathrm {objective} }}}\,,} where w pixel

1598-456: A planned series of advertisements that would feature Maitani prominently, similar to how contemporaneous campaigns made automotive designers into household names. In October 1979, Maitani relented, on the condition the ads were limited to the American market only, and the ads, crediting him as a mononymous genius, were running by early 1980. Although some have credited Maitani with the design of

1692-488: A process that Maitani called his "unreasonable demand to reduce the size and weight by half", adding that "repetitions of this process eventually led to the creation of something that photographers want, something that I wanted. If something is not available to buy, you have to make it yourself." A few years later, Olympus released the OM-2, which used an electronically-timed shutter and exposure meter that measured light reflected from

1786-393: A sensor (SNR), expressed as signal electrons relative to rms noise in electrons, observed at the scale of a single pixel, assuming shot noise from Poisson distribution of signal electrons and dark electrons, is where P {\displaystyle P} is the incident photon flux (photons per second in the area of a pixel), Q e {\displaystyle Q_{e}}

1880-495: A small sensor can be fitted into a compact package. Small body means small lens and means small sensor, so to keep smartphones slim and light, the smartphone manufacturers use a tiny sensor usually less than the 1/2.3" used in most bridge cameras . At one time only Nokia 808 PureView used a 1/1.2" sensor, almost three times the size of a 1/2.3" sensor. Bigger sensors have the advantage of better image quality, but with improvements in sensor technology, smaller sensors can achieve

1974-457: A success, Sakurai approached Maitani and told him that photographers were asking if a Pen SLR was possible; when Maitani showed him the design sketches and explained how it would result in a SLR with an unconventional shape, Sakurai was initially surprised, then approved the development project, which resulted in the Olympus Pen F . To achieve acceptable shutter speeds, many patents were awarded for

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2068-450: Is 'better than the best 35 mm lenses – but only for a very small image'. In summary, as sensor size reduces, the accompanying lens designs will change, often quite radically, to take advantage of manufacturing techniques made available due to the reduced size. The functionality of such lenses can also take advantage of these, with extreme zoom ranges becoming possible. These lenses are often very large in relation to sensor size, but with

2162-454: Is a stub . You can help Misplaced Pages by expanding it . Image sensor format In digital photography, the image sensor format is the shape and size of the image sensor . The image sensor format of a digital camera determines the angle of view of a particular lens when used with a particular sensor. Because the image sensors in many digital cameras are smaller than the 24 mm × 36 mm image area of full-frame 35 mm cameras,

2256-525: Is formed in a given mode of the camera. The active area may be smaller than the image sensor, and active area can differ in different modes of operation of the same camera. Active area size depends on the aspect ratio of the sensor and aspect ratio of the output image of the camera. The active area size can depend on number of pixels in given mode of the camera. The active area size and lens focal length determines angles of view. Semiconductor image sensors can suffer from shading effects at large apertures and at

2350-419: Is interesting to compare performance of cameras with small and big sensors. A good cell phone camera with typical pixel size 1.1 μm (Samsung A8) would have about 3 times worse SNR due to shot noise than a 3.7 μm pixel interchangeable lens camera (Panasonic G85) and 5 times worse than a 6 μm full frame camera (Sony A7 III). Taking into consideration the dynamic range makes the difference even more prominent. As such

2444-399: Is only partly correlated between pixels, and the shot noise associated with dark offset, which is uncorrelated between pixels. Only the shot-noise component Dt is included in the formula above, since the uncorrelated part of the dark offset is hard to predict, and the correlated or mean part is relatively easy to subtract off. The mean dark current contains contributions proportional both to

2538-504: Is performed by uniformly scaling the pixel. Considering the signal to noise ratio due to read noise at a given exposure, the signal will scale as the sensor area along with the read noise and therefore read noise SNR will be unaffected by sensor area. In a depth of field constrained situation, the exposure of the larger sensor will be reduced in proportion to the sensor area, and therefore the read noise SNR will reduce likewise. Dark current contributes two kinds of noise: dark offset, which

2632-444: Is proportional to pixel area, independent of sensor area. The formulas above and below can be evaluated for either case. In the above equation, the shot noise SNR is given by Apart from the quantum efficiency it depends on the incident photon flux and the exposure time, which is equivalent to the exposure and the sensor area; since the exposure is the integration time multiplied with the image plane illuminance , and illuminance

2726-419: Is the luminous flux per unit area. Thus for equal exposures, the signal to noise ratios of two different size sensors of equal quantum efficiency and pixel count will (for a given final image size) be in proportion to the square root of the sensor area (or the linear scale factor of the sensor). If the exposure is constrained by the need to achieve some required depth of field (with the same shutter speed) then

2820-426: Is the quantum efficiency , t {\displaystyle t} is the exposure time, D {\displaystyle D} is the pixel dark current in electrons per second and N r {\displaystyle N_{r}} is the pixel read noise in electrons rms. Each of these noises has a different dependency on sensor size. Image sensor noise can be compared across formats for

2914-926: Is the width of the photoreceptor and ( f /#) microlens is the f-number of the microlens. In order to avoid shading, G p i x e l ≥ G o b j e c t i v e , {\textstyle G_{\mathrm {pixel} }\geq G_{\mathrm {objective} },} therefore w p h o t o r e c e p t o r ( f / # ) m i c r o l e n s ≥ w p i x e l ( f / # ) o b j e c t i v e . {\displaystyle {\frac {w_{\mathrm {photoreceptor} }}{{(f/\#)}_{\mathrm {microlens} }}}\geq {\frac {w_{\mathrm {pixel} }}{{(f/\#)}_{\mathrm {objective} }}}.} If w photoreceptor / w pixel = ff ,

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3008-593: Is the width of the pixel and ( f /#) objective is the f-number of the objective lens. The geometrical extent of the microlens / photoreceptor system is given by G p i x e l ≃ w p h o t o r e c e p t o r 2 ( f / # ) m i c r o l e n s , {\displaystyle G_{\mathrm {pixel} }\simeq {\frac {w_{\mathrm {photoreceptor} }}{2{(f/\#)}_{\mathrm {microlens} }}}\,,} where w photoreceptor

3102-401: Is to be avoided the f-number of the microlens must be smaller than the f-number of the taking lens by at least a factor equal to the linear fill factor of the pixel. The f-number of the microlens is determined ultimately by the width of the pixel and its height above the silicon, which determines its focal length. In turn, this is determined by the height of the metallisation layers, also known as

3196-502: The E-PL1 . It was released one month after the E-P2 as a cheaper, more beginner friendly option. Their main features were identical, like the 12 MP image sensor, or the 3-axis sensor stabilization system. But there were a few corner-cuts. The E-PL1 had a fastest shutter speed of 1/2000s instead of 1/4000s, a little bit smaller LCD screen (2.7" vs 3") and less premium material usage. The next model

3290-529: The E-M1 Mark II . In the cameras that support it, Olympus offers a mobile app called OI.Share (Olympus Image Share), which is free and can be used for taking self-portraits and share message. The app will show a live preview of your image via a Wi-Fi connection to the camera and let you control a host of camera functions from zoom to new art filters before you take the shot which will then download to your smartphone to let you post on social media. This article

3384-756: The Micro Four Thirds system , so they all have a 17.3 x 13 mm Four Thirds size image sensor and autofocus . The first digital PEN was the E-P1 , released in June 2009. There are three lines in the Digital PEN series of Olympus: The main PEN range (E-P), the PEN Lite (E-PL) and the PEN Mini (E-PM). Main PEN range: The Olympus PEN E-P1 was the first digital PEN and the second camera in

3478-559: The Olympus Stylus (1991), that camera was designed by Tatsuya Suzuki, incorporating some of the basic concepts from the XA, including the capless, caseless design. Maitani retired from Olympus in 1996. The man behind the Olympus OM camera: Yoshihisa Maitani This biographical article related to Japan is a stub . You can help Misplaced Pages by expanding it . This photography-related article

3572-610: The Olympus XA , which was the first camera to win a Good Design Award .   Many of the cameras that I have developed have been unique Olympus-style products. And there's a reason for that. I was simply trying to make things that you couldn't buy anywhere.   When the Monkey King boasted that he could fly to the end of the Earth, the Buddha told him to go. And indeed he flew to the end of

3666-425: The photolithography process, which requires separate masks and quality control steps. Canon selected the intermediate APS-H size, since it was at the time the largest that could be patterned with a single mask, helping to control production costs and manage yields. Newer photolithography equipment now allows single-pass exposures for full-frame sensors, although other size-related production constraints remain much

3760-445: The space-bandwidth product ) the lens for a smaller sensor requires a greater resolving power. The development of the ' Tessar ' lens is discussed by Nasse, and shows its transformation from an f /6.3 lens for plate cameras using the original three-group configuration through to an f /2.8 5.2 mm four-element optic with eight extremely aspheric surfaces, economically manufacturable because of its small size. Its performance

3854-496: The 'noise floor'. In the image sensor literature, the noise floor is taken as the readout noise, so D R = Q max / σ readout {\displaystyle DR=Q_{\text{max}}/\sigma _{\text{readout}}} (note, the read noise σ r e a d o u t {\displaystyle \sigma _{readout}} is the same quantity as N r {\displaystyle N_{r}} referred to in

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3948-414: The 'same picture' conditions, same angle of view, subject distance and depth of field, then the f-numbers are in the ratio 1 / C {\displaystyle 1/C} , so the scale factor for the diffraction MTF is 1, leading to the conclusion that the diffraction MTF at a given depth of field is independent of sensor size. In both the 'same photometric exposure' and 'same lens' conditions,

4042-399: The 'stack height'. For a given stack height, the f-number of the microlenses will increase as pixel size reduces, and thus the objective lens f-number at which shading occurs will tend to increase. In order to maintain pixel counts smaller sensors will tend to have smaller pixels, while at the same time smaller objective lens f-numbers are required to maximise the amount of light projected on

4136-688: The E-PL5. The E-PL7 was actually announced one month later with a design change, built-in Wi-Fi and a selfie-friendly higher resolution LCD screen. The E-PL8 from Q4 2016 ran with little development: the only major difference between the E-PL7 and the E-PL8 was the design. The next model was the E-PL9 (2018 Q1), where the max. ISO sensitivity was cut back from 25,600 to 6,400; however, it packed 4K video recording and reintroduced

4230-420: The Earth and returned after signing his name on the wall. When he got back, the Buddha smiled and showed him the inside of his finger. "Here is your signature," he said. If you think about it, everything is in the hand of the Buddha.   I love cameras, and I have willfully proclaimed my determination to create cameras that have never existed before. Yet when I think about it now, it seems to be that everything

4324-475: The Konica that much, he would buy one for each of them; instead, he urged them to revisit the 100 concepts, but they could not come up with one he found satisfactory, so he started with the idea of a full-frame camera that could be carried everywhere, setting dimensional limits based on the size of a 135 film cartridge and eliminating the need for a case and lens cap. These rough concepts were developed eventually into

4418-512: The Micro Four Thirds system. It revolutionized the camera market, because it was the first mirrorless camera which really took advantage of its kind. It included a 12 MP Four Thirds size sensor, which had the same image quality as a Four Thirds DSLR camera, but was packed in a much smaller body. It also included a 3-axis sensor-shift image stabilization system. It carries on in the PEN tradition with its external design clearly inspired by

4512-571: The SNR calculation ). The resolution of all optical systems is limited by diffraction . One way of considering the effect that diffraction has on cameras using different sized sensors is to consider the modulation transfer function (MTF). Diffraction is one of the factors that contribute to the overall system MTF. Other factors are typically the MTFs of the lens, anti-aliasing filter and sensor sampling window. The spatial cut-off frequency due to diffraction through

4606-517: The above-mentioned old PEN F half-frame SLR . These cameras look alike as well. The new PEN-F shares a lot of its features with the Olympus OM-D E-M5 Mark II , and also has a built-in electronic viewfinder , which is a unique feature among digital PEN cameras. It is still the most advanced PEN camera as of January 2021. The PEN-F was also the first Olympus camera to use the new, 20 MP sensor, which later ended up in professional bodies like

4700-456: The angle of view). The change in depth of field is brought about by the requirement for a different degree of enlargement to achieve the same final image size. In this case the ratio of depths of field becomes In practice, if applying a lens with a fixed focal length and a fixed aperture and made for an image circle to meet the requirements for a large sensor is to be adapted, without changing its physical properties, to smaller sensor sizes neither

4794-516: The area and the linear dimension of the photodiode, with the relative proportions and scale factors depending on the design of the photodiode. Thus in general the dark noise of a sensor may be expected to rise as the size of the sensor increases. However, in most sensors the mean pixel dark current at normal temperatures is small, lower than 50 e- per second, thus for typical photographic exposure times dark current and its associated noises may be discounted. At very long exposure times, however, it may be

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4888-470: The arrival of the Rollei 35 , a camera almost as compact but making normal 24×36 exposures, would announce the beginning of the end for the half-frame concept. However, Olympus went on producing the simpler models of the Pen family until at least 1983. In the descriptions below, the focal lengths indicated do not give the same angle of view as for full-frame cameras: 30mm on the Pen is roughly equivalent to 45mm on

4982-657: The aspect ratio of the popular SVGA , XGA , and SXGA display resolutions at the time of the first digital cameras, allowing images to be displayed on usual monitors without cropping. As of December 2010 most compact digital cameras used small 1/2.3" sensors. Such cameras include Canon Powershot SX230 IS, Fuji Finepix Z90 and Nikon Coolpix S9100. Some older digital cameras (mostly from 2005–2010) used even smaller 1/2.5" sensors: these include Panasonic Lumix DMC-FS62, Canon Powershot SX120 IS, Sony Cyber-shot DSC-S700 , and Casio Exilim EX-Z80. As of 2018 high-end compact cameras using one inch sensors that have nearly four times

5076-534: The built-in flash in the PEN Lite range. The current model in this category is the E-PL10 , released in Q4 2019. It did not really include any major innovation compared to its predecessor. PEN Mini range: The Olympus PEN Mini was a short-lived category in the digital PEN range. It is not necessarily smaller than the higher-end PEN models, but it simplifies the controls to make the camera more beginner-friendly. The first model in it

5170-413: The camera for half an hour in silence, then enthusiastically encouraged production to start, resulting in the Pen EE. At the time the Pen launched, Maitani believed there would not be a market for a half-frame single-lens reflex camera , but began developing some of the key technologies that would be required, including a mirror that swung sideways and a rotary focal plane shutter . After the Pen became

5264-447: The characteristic dimensions of the format, and thus l 1 / l 2 {\displaystyle l_{1}/l_{2}} is the relative crop factor between the sensors. It is this result that gives rise to the common opinion that small sensors yield greater depth of field than large ones. An alternative is to consider the depth of field given by the same lens in conjunction with different sized sensors (changing

5358-440: The depth of field nor the light gathering l x = l m m 2 {\displaystyle \mathrm {lx=\,{\frac {lm}{m^{2}}}} } will change. Discounting photo response non-uniformity (PRNU) and dark noise variation, which are not intrinsically sensor-size dependent, the noises in an image sensor are shot noise , read noise , and dark noise . The overall signal to noise ratio of

5452-446: The depth of field of sensors receiving the same photometric exposure – the f-number is fixed instead of the aperture diameter – the sensors are operating at the same ISO setting in that case, but the smaller sensor is receiving less total light, by the area ratio. The ratio of depths of field is then where l 1 {\displaystyle l_{1}} and l 2 {\displaystyle l_{2}} are

5546-524: The design department, when he noticed the cheapest camera Olympus sold was ¥23,000 , nearly two months' salary, and he began working on a camera that would retail for no more than ¥6,000 instead. Comparing enlargements from his prototype with the Leica IIIf, he was dissatisfied with the sharpness of the lens on the prototype and so he asked the Olympus optical team to design a Tessar -type lens that would equal

5640-404: The division of the noise measured in volts by the conversion gain of the pixel. This is given, for an active pixel sensor , by the voltage at the input (gate) of the read transistor divided by the charge which generates that voltage, C G = V r t / Q r t {\displaystyle CG=V_{rt}/Q_{rt}} . This is the inverse of the capacitance of

5734-433: The end of 1967, he had convinced Sakurai to pursue a small, light SLR. Maitani set a target of half: 700 g (25 oz) and 20% reduction in height and depth, resulting in a camera that would be approximately half the weight and volume of a Nikon F . To optimize the utilization of internal space, the shutter speed control was moved to the lens mount. The resulting Olympus M-1, later renamed OM-1 , had come about through

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5828-414: The exposures will be in inverse relation to the sensor area, producing the interesting result that if depth of field is a constraint, image shot noise is not dependent on sensor area. For identical f-number lenses the signal to noise ratio increases as square root of the pixel area, or linearly with pixel pitch. As typical f-numbers for lenses for cell phones and DSLR are in the same range f /1.5–2 it

5922-410: The f-number is not changed, and thus the spatial cutoff and resultant MTF on the sensor is unchanged, leaving the MTF in the viewed image to be scaled as the magnification, or inversely as the crop factor. It might be expected that lenses appropriate for a range of sensor sizes could be produced by simply scaling the same designs in proportion to the crop factor. Such an exercise would in theory produce

6016-439: The f-number required to equalise depth of field. But the aperture area is held constant, so sensors of all sizes receive the same total amount of light energy from the subject. The smaller sensor is then operating at a lower ISO setting , by the square of the crop factor). This condition of equal field of view, equal depth of field, equal aperture diameter, and equal exposure time is known as "equivalence". And, we might compare

6110-402: The feats of earlier larger sensors. These improvements in sensor technology allow smartphone manufacturers to use image sensors as small as 1/4" without sacrificing too much image quality compared to budget point & shoot cameras. For calculating camera angle of view one should use the size of active area of the sensor. Active area of the sensor implies an area of the sensor on which image

6204-475: The film. After the OM-2, Olympus's market share for 35mm compact cameras began to fall and Maitani was enlisted to help design a new product. He assembled of team of 10 to brainstorm ideas; after one year, the team reported back they had 100 concepts but were impressed by the Konica C35 AF , which had just been released, and wanted to produce a competitor. Maitani dismissed that idea and told them if they liked

6298-543: The following: Obsolescent and out-of-production sensor sizes include: When full-frame sensors were first introduced, production costs could exceed twenty times the cost of an APS-C sensor. Only twenty full-frame sensors can be produced on an 8 inches (20 cm) silicon wafer , which would fit 100 or more APS-C sensors, and there is a significant reduction in yield due to the large area for contaminants per component. Additionally, full frame sensor fabrication originally required three separate exposures during each step of

6392-561: The formulae derived in the article on depth of field . The depths of field of the three cameras may be the same, or different in either order, depending on what is held constant in the comparison. Considering a picture with the same subject distance and angle of view for two different formats: so the DOFs are in inverse proportion to the absolute aperture diameters d 1 {\displaystyle d_{1}} and d 2 {\displaystyle d_{2}} . Using

6486-525: The half-frame and full-frame programs, so initially the sales department began exploring the possibility of rebadging another manufacturer's products. Maitani was aghast: why would anyone buy a camera rebadged as an Olympus when they could simply buy the original camera instead? After he had used SLRs reluctantly for macro photography , as the Leica were not optimized for that use, Maitani realized that SLR weight and size posed another barrier to broad acceptance; by

6580-457: The linear fill factor of the lens, then the condition becomes ( f / # ) m i c r o l e n s ≤ ( f / # ) o b j e c t i v e × f f . {\displaystyle {(f/\#)}_{\mathrm {microlens} }\leq {(f/\#)}_{\mathrm {objective} }\times {\mathit {ff}}\,.} Thus if shading

6674-413: The periphery of the image field, due to the geometry of the light cone projected from the exit pupil of the lens to a point, or pixel, on the sensor surface. The effects are discussed in detail by Catrysse and Wandell. In the context of this discussion the most important result from the above is that to ensure a full transfer of light energy between two coupled optical systems such as the lens' exit pupil to

6768-400: The quality of the Leica; the resulting D.Zuiko was "really wonderful" but consumed his entire development budget. Using his factory experience, Maitani began cutting costs where he could and upon seeing the finished prototype, Sakurai approved production, but the factory manager refused, calling what would be sold as the Olympus Pen a "toy camera", so manufacturing of the half-frame camera

6862-474: The read transistor gate (and the attached floating diffusion) since capacitance C = Q / V {\displaystyle C=Q/V} . Thus C G = 1 / C r t {\displaystyle CG=1/C_{rt}} . In general for a planar structure such as a pixel, capacitance is proportional to area, therefore the read noise scales down with sensor area, as long as pixel area scales with sensor area, and that scaling

6956-404: The rear of the photodetectors and the microlens layer is placed directly on that surface, rather than the front side with its wiring layers. Some professional DSLRs, SLTs and mirrorless cameras use full-frame sensors, equivalent to the size of a frame of 35 mm film. Most consumer-level DSLRs, SLTs and mirrorless cameras use relatively large sensors, either somewhat under the size of

7050-403: The same absolute aperture diameter for both formats with the "same picture" criterion (equal angle of view, magnified to same final size) yields the same depth of field. It is equivalent to adjusting the f-number inversely in proportion to crop factor – a smaller f-number for smaller sensors (this also means that, when holding the shutter speed fixed, the exposure is changed by the adjustment of

7144-401: The same camera except that it added the "Flashmatic" system when used with the matching GN14 flash. The Pen EE.S2 , produced from 1968 to 1971, is the same as the Pen EE.S with the addition of a hot shoe and a more modern range of film speed settings. The Pen EE.D , produced from 1967 to 1972, is a more expensive automated-exposure model, with a CdS meter, a 32mm f/1.7 lens, a self timer and

7238-406: The same size image for viewing must be accounted for, resulting in an additional scale factor of 1 / C {\displaystyle 1/{C}} where C {\displaystyle {C}} is the relative crop factor, making the overall scale factor 1 / ( N C ) {\displaystyle 1/(NC)} . Considering the three cases above: For

7332-451: The same. Due to the ever-changing constraints of semiconductor fabrication and processing, and because camera manufacturers often source sensors from third-party foundries , it is common for sensor dimensions to vary slightly within the same nominal format. For example, the Nikon D3 and D700 cameras' nominally full-frame sensors actually measure 36 × 23.9 mm, slightly smaller than

7426-403: The sensor. To combat the effect discussed above, smaller format pixels include engineering design features to allow the reduction in f-number of their microlenses. These may include simplified pixel designs which require less metallisation, 'light pipes' built within the pixel to bring its apparent surface closer to the microlens and ' back side illumination ' in which the wafer is thinned to expose

7520-407: The settings she had chosen, the picture would not be in focus, so he next designed a prototype with simplified controls, requiring just a single button press. The head of the sales department argued with Maitani over this philosophy, believing that real photographers required many controls and fearing that such a simple camera would not sell. After completing the prototype, the head of sales played with

7614-449: The smaller size of the image sensor compared to 35 mm film format results in cropping of the image. This latter effect is known as field-of-view crop. The format size ratio (relative to the 35 mm film format) is known as the field-of-view crop factor, crop factor, lens factor, focal-length conversion factor, focal-length multiplier, or lens multiplier. Three possible depth-of-field comparisons between formats are discussed, applying

7708-413: The system MTF will therefore scale according to ξ c u t o f f {\displaystyle \xi _{\mathrm {cutoff} }} and in turn according to 1 / N {\displaystyle 1/N} (for the same light wavelength). In considering the effect of sensor size, and its effect on the final image, the different magnification required to obtain

7802-410: The titanium shutter and hardened gear train. Maitani called it "a huge failure" because the patents prevented any other companies from making competitive cameras. Because Kodak refused to create half-frame slide mounts, the American market for the Pen F was limited, and the head of exports began pressuring Maitani to develop a full-frame SLR. As a small company, Olympus could not afford to continue both

7896-567: The traditional PEN series. The next model in this category was the E-P2 , released in April 2010, which did not include a whole lot of new features. One of them was the multi-functional accessory port under the hot shoe for an optional external electronic viewfinder or an external microphone . The next model to follow was the E-P3 , released in 2011. It packed quite a few new features like 1080p video recording,

7990-431: The trend of increasing the number of "megapixels" in cell phone cameras during last 10 years was caused rather by marketing strategy to sell "more megapixels" than by attempts to improve image quality. The read noise is the total of all the electronic noises in the conversion chain for the pixels in the sensor array. To compare it with photon noise, it must be referred back to its equivalent in photoelectrons, which requires

8084-522: The two cameras were slightly modified and became the Pen EE (EL) and Pen EE.S (EL) with a modification of the take-up spool to make film loading easier. EL stands for Easy Loading . They can only be recognized by a small EL label on the front, or by examining the take-up spool. The Pen EE.2 , produced from 1968 to 1977, is nearly the same as the Pen EE with the addition of a hot shoe . The Pen EE.3 , produced from 1973 to 1983, seems to be almost exactly

8178-754: Was a whole new feature in Olympus Micro Four Thirds cameras. After 8 years, the main E-P series got updated in 2021, now under OM Digital Solutions ' leadership. They skipped the number 6, and named the camera E-P7 . The E-P7 shares a lot of its internals with the OM-D E-M10 Mark IV , but the design resembles the PEN-F . It lacks an electronic viewfinder, like the previous E-P models. It cannot be used with an external viewfinder though, unlike its predecessors. PEN Lite range: The Olympus PEN Lite range started off with

8272-497: Was in the hand of Olympus. I'm sure that Olympus will continue to create unique cameras, and that those who love Olympus cameras will remain loyal users. Olympus cameras are a little unusual, but I hope that you will continue to understand and support those cameras.  — Yoshihisa Maitani, Special Lecture (Nov 2005) In 1978, the United States distributor, Olympus Camera Corporation, began lobbying Olympus to approve

8366-545: Was involved with the design of many of the company's most well-known cameras, including the Pen and the Pen F half frame cameras, the OM System , and the XA . Maitani credits Eiichi Sakurai , a keen photographer, with shifting Olympus from microscopes to cameras starting in 1935. When he was attending middle and high school, Maitani belonged to a photography club, using the family camera,

8460-664: Was originally based on " Olympus Pen " in Camerapedia, retrieved at an unknown date under the GNU Free Documentation License . Yoshihisa Maitani Yoshihisa Maitani (January 8, 1933 – July 30, 2009) was a designer of cameras for the Japan-based camera manufacturer Olympus Corporation . After studying mechanical engineering at university, he joined Olympus Optical Co., Ltd. (now Olympus Corporation) in 1956. Maitani went on to work for them for 40 years. He

8554-410: Was outsourced instead. At the time, most cameras were manufactured at a rate of a few hundred per month; Maitani set an optimistic production target of 5,000 per month, and the company was astonished to find the camera sold out so quickly. The low price also opened a new market for cameras: a month after it launched, Maitani watched a mother photographing her child using a Pen, but he realized that with

8648-566: Was the E-PL2 (2011 Q1), with a bigger and higher resolution LCD screen, then the E-PL3 (2011 Q4), with a higher, 6 fps burst rate. The E-PL5 was the first PEN Lite model to include the E-M5's 16 MP sensor, but maintaining the 3-axis image stabilization from the older cameras. The E-PL6 (2014 Q3) was not a very innovative model with the only new feature being the time lapse recording capability compared to

8742-588: Was the E-PM1 , released in Q4 2011. It had the same features and the same size as the E-PL3 , but with a simplified button layout and ergonomics. The E-PM2 was released in Q2 2013, it had the same differences compared to the E-PL5 . There is one more model in the Digital PEN range, which does not really fit any of these categories. It is the digital PEN-F from 2016. It pays tribute to

8836-492: Was the amateur model, with fully automatic exposure and fixed focusing. It is a true point and shoot camera, and has a 28mm f/3.5 lens. The Pen EE family is easily recognized by the selenium meter window around the lens. The Pen EE.S , launched in 1962, is the same model with a 30mm f/2.8 and a focusing ring, made necessary by the wider aperture. The focusing ring has marking for three zones (close (1.2m), group (3m), and scene) and can be adjusted from 90cm to infinity. In 1966

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