More Radical DSLR Designs

Olympus Evolt E-330 Four Thirds Format DSLR

While I’m on the subject of early DSLRs, Here’s another design that didn’t follow the traditional paradigm…

Although not as radical as the Leica R9, the E-330 and it’s predecessor the E-300 were true SLRs but without the familiar pentaprism protrusion at top dead center. This gave them a unique, streamlined appearance.

Instead of being directed upwards, the viewfinder’s optical path was turned on it’s side using a vertical swinging mirror. The image exits the mirror box from the left side (facing the back of the camera), and is then directed upwards by use of a porro mirror. This enabled Olympus to reduce the vertical height by placing the viewfinder in the familiar rangefinder location, left-of center.

Low-profile, rangefinder-like placement of the viewfinder.

In the case of the 330, it also allowed them to squeeze in a second, smaller CCD to provide full-time Live View even when the mirror is in it’s “down” position. This was the first camera to accomplish this feat.

It’s a testament to the iconic nature of the traditional SLR design that it survived these initial diversions. Olympus later adopted the more familiar look for their short-lived line of Four Thirds SLRs, now discontinued. The FT format promised compactness, but was aped by larger-sensored APS-C DSLRs like the Pentax K-r.

So strong is this icon, that many cameras are styled to look like SLRs even though their design doesn’tt call for it. With the E-300 and E-330 though, form really does follow function. The canted corner on the left side of the camera belies the angled mirror beneath.

These cameras were good performers, with a solid look and feel. They held up well to semi-professional use. A battery grip was even available for them.

Evolt E-300 with Battery Grip

If it bears a similar resemblance to the Lumix DMC-L1, it’s only because Olympus and Panasonic were working together in developing these early DSLRs. In fact, the E-330 shares its mirror box and sensor with the DMC-L1. However the Lumix does not employ a second CCD sensor for full-time, mirror-down Live View. What’s peculiar is that the two cameras do not share lenses; whatever agreement Olympus and Panasonic had, Leica was to supply the branding and optical formulas for Lumix lenses.

Of course the Leica lens could easily be mounted to the E-330 due to the universal nature of the Four Thirds system. This means that the excellent Leica D Summilux 25mm f/1.4 will work just fine on the E-330.

The two cameras are distinctly different with different operating features but similar performance. Perhaps the biggest difference is that the E-330 features 20 scene modes, while the DMC-L1 has none. They also use different storage media; the E-330 is compatible with Compact Flash and xD-Picture Cards.