Olympus e 410 manual online

In our testing, the E apparently gathered no dust from start to finish, but it didn't manage to shake any loose, either. These are just stubborn pieces of dust that will have to be cleaned from the SuperSonic Wave Filter. Dust suppression. Olympus was also the first to take on this challenge. Dust was always a problem with film, but now it's worse. Film caused scratches on the emulsion while moving through the camera, and stuck to negatives and slides in storage.

Seldom did it affect a single frame during capture; and if it did, that would change when the film advanced to the next frame. With digital, there is no advance to the next frame. The sensor is the same shot to shot, so any dust that sticks to the glass just sits there, affecting each frame the same as the last. Now that Olympus has enabled Live View, the problem is magnified because the sensor can be exposed to dust for minutes instead of fractions of a second. So far, it looks like Olympus's dust solution is still the most effective.

What dust it doesn't shake off is substantially blurred in the final exposure. I'll have to take brief issue again with the marketing strategy, because once again they're overselling a good thing. The main E brochure I received is full of wonderfully worded overstatement: "Dust. It's everywhere. It's annoying. It's relentless.

It must be stopped. We've declared war on dust. And driven it out of our cameras. I'm an Olympus fan from way back, but I'm concerned about these claims. Any experienced camera owner can tell you not to change lenses in areas where dust -- especially sand -- is "swirling. My understanding is that while some of Olympus's high-end lenses are sealed to resist dust and moisture, these two new lenses are not.

You'll never get all of it out, and your camera will never be the same. The E might indeed be a good camera for use in dusty environments, but please wait for the dust to settle before you change lenses.

Had Olympus not made these claims, I'd have been able to say that their Super Sonic Wave Filter works well to remove many types of dust, and the body is sealed to keep most dust out. Be aware, however, that even if the body were perfectly sealed and you never removed the lens, dust still enters through zooming and focusing the lens, and dust can even come from the camera's internal components, especially the fast-moving shutter and mirror mechanism.

The good news is that Olympus's system works well; but the truth is that you'll still periodically need to clean the sensor, as you will with all other brands. As I mentioned, the buttons and dials are great on the E, but the digital interface is important too. Their implementation of the Status display makes adjusting most settings very easy.

Unless you're in Live View mode, the Status display is present for about ten seconds after you release the shutter button. In this time, if you press the OK button, one of the blocks on the status display turns yellow. You can use the four arrows to move around to the item you want to change and press OK again.

The selection menu for that item then appears, and you can use either the arrows or the Control dial to make your selection. Press OK again, and you're back to the Status display. There are two displays, a simple and a more intricate one, selected with the Info button. Fireworks mode.

I had a terrible location, with a telephone pole and street light right in front of me, and most of the fireworks were bursting right behind that pole. But with zoom I managed to get a few good shots that I later cropped. This was taken with the mm kit lens. The menus are fairly straightforward, but oddly organized, and it's often unclear which button you should press to move onto the next screen.

If you decide you want to change the Picture Mode item, you press the right arrow to bring up the next screen. If you press OK instead, you leave the menu entirely. If you own the camera, it won't be a problem; if you use dozens like I do, it's annoying. Nearly all the advanced features you expect from a mid-range SLR are included in the E Flash exposure compensation; multiple color modes, including black and white tones and filters; High and Low key settings; Preset and Kelvin White balance capability; mirror lockup; and even AE bracketing.

The E has a little more than the E, though, starting with White balance bracketing and Flash bracketing. You can also set a high ISO limit with the E, define a color space, turn on shading compensation, and an array of other custom functions that are left out of the E to keep it simple. Of course the Olympus E is replete with Scene modes, 20 in all. I managed to make good use of the Fireworks mode this past Fourth of July. This one earned a place on my wall, but there's another in the Gallery.

I was pleasantly surprised by how little I had to do to get great results. A tripod was required, of course. Olympus Studio. With Studio 2.

You do not get a live image onscreen, however. Remote control. What wasn't left out of the E is the ability to work with Olympus Studio 2. One of the more interesting features of the software is the ability to remote control the E via USB connection. Just click a button onscreen and your image is captured and downloaded to the computer. If you can't imagine why you'd need that, it's probably not worth buying the software.

You'll get most of what you need to handle RAW images with the included software. The good news for studios, whether pro photographers or ebay stores, is that this software is there if you need it. The Canon Rebel XTi comes with the software for this trick.

This video is mostly dedicated to the E in its housing. Optics and Accessories. Buying an E avails you of the entire suite of 20 Zuiko Digital lenses, as well as flashes, cables, finders, and there's even a lens adapter for using old OM lenses. Waterproof down to feet 40 meters , the E is a great choice for diving, not only because its small size allows for a smaller housing, but because the Live View mode makes composing images underwater much better than having to squint through a viewfinder or use an awkward frame.

Other accessories include a flash housing for the FL and FL flashes. You can even get a zoom ring to allow zooming of the camera while it's in the housing. As for settings, the E has special underwater Scene modes that make adjusting your camera for underwater photography as simple as selecting one of the modes.

See the video above right for more. Center vs. The charts above plot "blur factor" from our DxO test charts against aperture lower blur factor numbers are better. We start at 5. Otherwise, the Olympus clearly outperforms Nikon and Canon's Kit lenses in terms of corner sharpness. Olympus has some impressive lenses available for the E I played with a few during this review, and enjoyed both their size and overall sharpness.

It took some time to get used to them and their idiosyncracies, especially the very narrow depth of field wide open not unusual, but I find I have to play with a lens a few times before I tune in to its habits and capabilities on a given body.

Both were very sharp, but I got better results locking them to the center AF point due to the narrow depth-of-field.

These were large and heavy enough that they really required a tripod, and were better suited to the Olympus E, with its bigger grip and sensor-shift image stabilization. While all three lenses are pretty close when compared by center sharpness, it's at the corners where we see a significant difference. As I've mentioned in other reviews, the Canon lens looked much better when used on a 6-megapixel camera, but the megapixel Rebel XTi reveals significant softening in the corners.

The same goes for the Nikon D40's performance with its kit lens when compared to the megapixel D40x. The Zuiko mm kit lens does much better, as you can see in the plots at right. It's small and packs easily, but the FL recycles too slowly for my kind of shooting. I only used the FL external flash occasionally. While it was fine with the E's kit lenses, and worked reasonably well in bounce situations, the flash recycle time was a little too long; and the camera wouldn't fire until the flash had recycled.

That is probably fine if you're shooting in a darker setting, but very often I was using the flash for fill, and would have preferred to just take a shot without fill so that I didn't miss the moment. I'd recommend the FL, as the FL doesn't recharge quickly enough after a full-power shot, probably due to its use of only two AA batteries.

It's also worth noting that with the FL mounted, you really miss a larger grip. The entire combo slipped out of my hand easily at one point, thankfully landing on a 3-inch thick padded mat. The on-camera flash is very small, and offers very poor coverage at the camera's wide angle setting.

It's fine for telephoto shots, if a little underpowered. I also found that the E didn't always make the right decision for proper exposure, producing underexposed, flat images. Well enough. In one of the rare moments, the E caught my kid sitting still. Low light. I took my kids to a local play area recently, where it was dark enough that ISO 1, was insufficient to freeze action.

So I worked with the FL at first, then switched to the on-camera flash. Despite its narrower range, I had better results with the on-camera flash. Both flashes resulted in a very blue cast against the yellow lights, but they're usable shots.

My biggest complaint was the poor speed of the autofocus system. Trennen der Kamera vom Computer g S. Sie mit der Panor ama-Funktion aufgeno mmen. Need help? Post your question in this forum. Report abuse Libble takes abuse of its services very seriously.

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