CCD vs LiveMOS - Vintage Camera Shootout

CCD vs LiveMOS – Vintage Camera Shootout. Do CCD sensors live up to the hype and can you tell the difference with images shot using a LiveMOS sensor. Read on!

Over several months I have posted a couple of comparison articles on various Facebook groups which compare CCD and LiveMOS images. Is the CCD myth, although compelling, just hype or is LiveMOS a better option? Can either be used as a stepping stone to achieving what you want as a photographer?

LiveMOS vs CCD

First things first though, lets talk about let’s talk about the relative merits of CCD and LiveMOS sensors. Take a look at this image, it explains pretty much why LiveMOS shouldn’t be overlooked as a good option when choosing vintage cameras.

One of the biggest problems with CCD sensor cameras is power consumption. If you want your camera to go on all day, shoot CMOS and be done. CMOS technology is newer, cleverer and technologically advanced. It’s also relatively frugal when it comes to power consumption. Now of course, the camera you are using is going to be the gas-hog here. A tiny compact camera of any type will consume less power than an all-singing and dancing top of the range DSLR or Mirrorless.

Even back in 2008, camera technology was very advanced and many cameras, especially those with full frame, APS-C, 43rds and M43 sensors were pretty competent. Smaller compact cameras had an edge here though with regards power consumption; smaller sensors, less in-built technology, fewer bells and whistles etc but they also had much smaller batteries. Add-in in-body and lens stabilisation and power demands increased again. Anything that reduces power consumption then is a bonus!

In truth though, photographers care much less about power consumption than they do about what the images look like. You really don’t buy an old CCD loaded camera, or indeed a LiveMOS loaded camera because you want dead sharp, colour neutral images. No, you tend to be chasing the Holy Grail of emulating film in a digital world and CCD, supposedly gets you closer than anything else. That’s where all of the hype started, and that’s why CCD sensor cameras are so popular today. In the CCD world, colour and tone are king!

So, What’s in the Test?

For this comparison, I have chosen to use four well-known, capable cameras. These are the Olympus E-300, the Olympus E-500, the Lumix L1 and the Olympus PEN E-P1. All of these cameras are capable of shooting gorgeous photos and all can be customised in camera. The first three of these cameras all have a four Thirds sensor while the last of the bunch, the Olympus PEN E-P1, has an M43 sensor. All have a 2x crop factor when compared with full frame cameras, yes, even the Four Thirds models.

That being said, and irrespective of the camera, setting the picture preferences in-camera to what you like best, i.e. the camera profile, if one exists, is a great way to start. If you camera doesn’t support camera profiles then just fine tuning the Saturation, Contrast and Sharpness can go a long way to getting you close to your dream jpegs SOOC, This avoids lots of late hour processing and for these type of cameras is probably the way to go. Far less effort all around and you can really flavour your images the way that you like them so that out of camera (SOOC), you have the perfect images. This does take some trial and error but in theory, within an afternoon’s shooting you should be able to choose the settings that best suit you.

Of course, if you aren’t chasing the filmic holy grail then any camera will likely do. A lot of people love Sony for this reason. If you are, and you don’t want to use a CMOS camera, even a Fuji, should you choose CCD or LiveMOS?

Let’s cut to the chase

Because I have something like a dozen or so CCD cameras, in the CCD world I feel that the E-300 would be a good camera to compare with the E-500. They they have the same Kodak sensor and although the E-500 is more technically competent, to my mind, the images out of the E-300 are more compelling. The header image for this post for example is from the Olympus E-300. Sometimes I just feel that newer is not always better. As an aside, the Olympus E-1 will probably be similar to the E-300 in terms of results but sadly, I don’t own one that I can test.

If on paper, the Olympus E-300 and E-500 are very similar, in reality, they are very different. The Olympus E-300, introduced in January 2005 has an unusual “brick shape” due in part to it’s use of a pentamirror rather than a pentaprism while the Olympus E-500, launched in October 2005, looks much more like the DSLR’s we are familiar with today. Age wise, there’s not much in it but they feel and look like very different cameras. Here are the basic specs for comparison:

Olympus E-300 (also known as the EVOLT E-300)

Kodak KAF-8300CE Four Thirds System FFT-CCD
8MP Resolution
1.80″ Fixed Type Screen
ISO 100 – 400 ( expands to 1600)
Four Thirds Mount
Optical (pentamirror) viewfinder

Olympus E-500 (also known as EVOLT E-500)

Kodak KAF-8300CE Four Thirds System FFT-CCD
8MP Resolution
ISO 100 – 400 ( expands to 1600)
Four Thirds Mount
2.50″ Fixed Type Screen
Optical (pentaprism) viewfinder

Fortunately, the menu system of these two cameras is similar, and importantly, familiar so getting around is relatively easy. There are differences of course, Olympus have improved the layout of the menus on the E-500 and of course, the bigger screen aids menu usage and setup. Both have the ability to “flavour” the jpeg settings with the E-500 having a number of customisable presets such as Vivid and Natural and these can be further flavoured with settings such as Saturation, Sharpness and Contrast. Not so on the E-300, you only have the ability to apply Saturation, Sharpness and Contrast, there are no presets.

The bigger screen on the E-500 is also very helpful. With regards weight, again the E-500 wins out, the body is a lot lighter which, if you are contemplating a long days shooting, is very welcome.

Let’s take a look at some images. Firstly, here are some shots from the E-500.

OLYMPUS E-500 (CCD SENSOR)

Image 9 of 13

OLYMPUS DIGITAL CAMERA

Here are some images from the e E-300.

OLYMPUS E-300 (CCD SENSOR)

Image 1 of 13

OLYMPUS DIGITAL CAMERA

Lumix L1

The Lumix DMC-L1 combines an ‘analog operational concept and design’ with solid looks and Leica knowhow. It feels like a fusion of the classic rangefinder design with design styling in keeping with the E-300. However, the Lumix L1 has much more in common with the Olympus E-330 with which is shares some technology. The Leica Digilux 3 is another version of the Lumix L1 design, hence the orange L logo on the Lumix L1 body.

Teaming up with Leica on the optics was a stroke of genius albeit that this came with a hefty price tag. When teamed up with the Leica D Vario-Elmarit 14-50mm F2.8-3.5 lens, even though this is made in Japan to Leica standards, this is a serious digital camera of it’s time. The L1’s magnesium alloy body shouts quality but the downside is 1.13 kilograms with lens!

Four Thirds System RGB Live MOS sensor
7.4MP Resolution
ISO 100 to 1600
Four Thirds Mount
2.50″ Fixed Type Screen
Optical 0.93× Porro prism viewfinder

Here are some images from the Lumix L1. All shots were taken on A & P modes using Auto WB, Auto ISO, standard picture profile with Saturation, Contrast and Sharpness all set to zero i.e. no enhancements. While shooting I would have modified EV in some situations i.e. where I felt the highlights would blow out or the shadows needed lifting. I am likely to have used either the Leica D Vario-Elmarit 14-50mm F2.8-3.5 or the fully manual German made Leica Elmarit 35-70mm F3.5. I actually love the images that this latter lens contributes too when attached to either the Lumix L1 or the Leica Digilux 3.

LUMIX L1

Image 1 of 17

PANASONIC LUMIX DIGITAL CAMERA

Olympus PEN E-P1

The Olympus PEN E-P1 was introduced in July 2009. It is classed as an Entry-Level Mirrorless camera. It has a 12.0MP Four Thirds NMOS (LiveMOS} sensor. I picked mine up for under £60 from Cash Convertors.

The immediate and most notable difference between this camera and the other three in the test, is that this camera doesn’t have a viewfinder, it is LCD screen only. Worst still, it is a fixed screen. Good though this is, in bright sunshine you will struggle to view your subjects due to glare. You can buy an add on viewfinder, the VF-1, which I have done, but it is only useful if you also using the 17mm kit lens. I do have mine fitted, it sits in the hot-shoe, but rarely use it for this reason. It is simply too hit and miss when the camera is paired with zoom and larger prime lenses.

All this being said, the pictures shown below were all taken on an extremely bright sunny day in June so it is possible to use this camera in all situations. The other thing immediately noticeable, it has gorgeous sleek styling. This camera is a real head turner. For this test, as I couldn’t lay hands on my Lumix 12-60 f3.5-5.6, I chose to use my 35-100 f3.5-5.6. This is not a lens that I would normally use, I have probably used it about three times since buying it 5 years ago but I have to say, it did well in this test.

Four Thirds NMOS Sensor – LiveMOS
12MP Resolution
ISO 100 – 6400
Micro Four Thirds Mount
Sensor-shift Image Stabilization
3.00″ Fixed Type Screen

Here are some images from the Olympus PEN E-P1. All shots were taken on P mode using Auto WB, Auto ISO, standard picture profile with Saturation, Contrast and Sharpness all set to zero i.e. no enhancements. While shooting I did modify EV in some situations i.e. where I felt the highlights would blow out or the shadows needed lifting.

OLYMPUS PEN E-P1

Image 1 of 19

OLYMPUS DIGITAL CAMERA

Summary

The first thing to say is that film is very difficult to emulate, and while CCD and LiveMOS can get close, they simply can’t emulate the highlight fall-off of film, the unique tonality or the colour characteristics of a particular film stock. In my opinion, it’s Fuji that gets closer than anyone else with their clever colour science.

My general opinion, and this is from taking lots of photos with both sensor types, is that it really doesn’t matter whether the camera has a CCD sensor or a LiveMOS sensor. They are equally as good as each other. It just comes down to what you prefer to shoot. It’s true that I prefer the images out of the Olympus E-300 and I wonder what these could look like with the Leica Elmarit 35-70mm F3.5 attached. I’m already thinking of a project to explore this idea. That being said, I don’t see a huge amount of difference between the photos out of the E-500, PEN E-P1 or the Lumix L1. They are all great quality. In fact the best for sharpness are those out of the PEN E-P1 which cost me just £60 or so. The resolution on this sensor is almost 1.5x that of the other two cameras so to be expected.

Interestingly, I feel that 12MP is a good cut-off for this type of technology, whether CCD or LiveMOS although I think that you can see that even at 7 – 8MP the results are way good enough.

I tend to be just as happy with the images out of my Leica Digilux 3 or Lumix L1 (both LiveMOS) as I am with those from my Olympus E-300 or E-500 (both CCD). In fact I’d go so far as to say that some of my favourite images have come from cameras such as the Olympus C-765, Canon S5 IS, Fuji S200 EXR and even the Kodak AZ421. These are all small body compact and bridge cameras and they all take great photos.

Of course, outside of Four Thirds and M43 sensors, some of the smaller 1/2″‘ish sensors, particularly compacts with 1/1.7″ or 1/1.8″ or bigger sensors can compete very favourably, especially when coupled with a fast lens. I haven’t tried it but for those looking for a quality compact camera with a LiveMOS sensor, the Lumix LF-1 compact would likely be a good contender here, as would be the Lumix LX-5.

The most interesting finding for me though was that very few people on the various groups that I shared comparison photos could tell the difference between CCD and LiveMOS images. Most got their choices wrong.

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