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What are the main features of the E-620?
The E-620 is a consumer DSLR which incorporates much of the technology found in the professional-grade E-3. It features groundbreaking technological advances, including a Live View LCD monitor that can be swung out from the camera and swiveled 270 degrees; a powerful, 12.3-megapixel Live MOS Sensor�; Olympus' patented Supersonic Wave Filter (SSWF�) dust-reduction system, which makes it easy to change lenses anywhere without worrying about dust ruining a shot; the stunningly fast TruePic� III+ processor; and a 2.7-inch, high resolution, dual-axis, wide-angle HyperCrystal II LCD screen for superior visibility (even in direct sunlight).
Of course,the E-620 is also precision-engineered to work perfectly with Olympus' Zuiko� Digital Specific Lenses� for pixel-perfect, edge-to-edge clarity.
The E-620 boasts Olympus' most advanced anti-blur technology to date: Sensor Shift Image Stabilization. The exclusive Supersonic Wave Drive(SWD�) motors provide three modes of accurate, high-speed stabilization. One mode provides blur-free photography for everyday situations such as low-light settings. The other two modes help capture sharp images even while panning during action shots. This technology is built into the body of the E-620 so it works with every lens, unlike legacy film technologies that are built into individual lenses.
The 7-point biaxial autofocus system provides numerous autofocus setup options and accurate autofocus in low-light situations.
The built-in flash also serves as a control for the wireless, remote-controlled flash system, built around the optional FL-50R and FL-36R accessory flash units. The system enables camera control of up to three groups of individually programmed flashes.
The E-620 also has features that make it possible to create in-camera special effects while shooting. There are six Art Filters that can be used to achieve creative, artistic effects, such as mimicking pinhole and pop art photography or the look of grainy black & white film. Using the Multiple Exposure feature, two images can be overlaid and combined in a single shot.
The interactive control panel on the LCD monitor and the numerous direct controls on the surface of the camera enable rapid management and selection of the E-620's features.
The E-620 is bundled with OLYMPUS Master� software and a trial version of OLYMPUS Studio�, which enables computer-tethered shooting and computer control of the camera.
What is the composition of the camera body?
The camera body is made of high-impact polycarbonate.
Is the E-620 body splashproof?
No, the camera is not designed to be used in extreme environmental conditions. The Olympus E-3 would be more appropriate for use in severe conditions.
The E-620 features Live View. What is it and how does it work?
The Live View feature allows you to use the LCD monitor as a viewfinder to compose shots or to shoot while viewing an enlarged display on the monitor.
Live View uses one of three available AF systems to determine when and how focusing is performed. Selection of the AF system is made via the following menu: > AF/MF > LIVE VIEW AF MODE. The characteristics of the Live View AF systems are as follows:
In all Live View AF modes, it is possible to pre-select a specific AF target. Doing so reduces shutter lag because the camera does not need to search for a subject in all AF targets. When selecting an AF target, chose one that contains an area of contrast. If the camera is unable to detect contrast (for example, if the selected AF target is directed at a stark white wall), it may not be able to take a picture.
To select a specific AF target, while the camera is in Live View mode, press the [OK] button to access the Super Control panel. Use the arrow buttons to select the AF Area icon. While in Live View mode, it may be desireable to enlarge the display of the subject on the LCD monitor. This is especially useful when using MF (manual focus) because it makes focus confirmation and adjustment easier.
To view an enlarged display using Live View, press the [INFO] button repeatedly until a green box is displayed in the center of the monitor. Using the arrow buttons to move the box around the screen, select the area to enlarge. Press the [OK] button to enlarge the selected area. (The magnification can be toggled among 5x, 7x and 10x by turning the dial.) Press [OK] again to return to normal magnification. Press [INFO] to exit the enlarged display function.
�To view a list of compatible lenses, click here. Depending on the date of purchase, a compatible model may require a firmware update in order to support IMAGER AF. In the future, Olympus may add IMAGER AF support to other Zuiko Digital lenses via firmware updates.
�When composing shots using Live View, the shutter lag will be slightly longer than it would be when composing shots using the optical viewfinder, although the delay can be minimized by acquiring and locking the autofocus prior to pressing the shutter button. Live View is not recommended for photographing fast-moving subjects and where a quick response is required. Continuous AF is not supported when Live View is enabled.
Can I preview the adjustments I make to camera settings on the Live View LCD monitor?
While setting up a shot, changes made to the (exposure compensation) and WB (white balance) settings are previewed on the Live View LCD monitor so their effects can be checked before shooting. The effects are previewed in all shooting modes, including those in which the camera automatically adjusts exposure and/or white balance.
With LIVE VIEW BOOST set to ON, the camera automatically adjusts the brightness level and displays the subject on the monitor for easier confirmation. The effect of the exposure compensation adjustments will not be shown on the monitor when Live Boost is enabled.
The eyepiece shutter should be closed so that light entering through the viewfinder does not affect the exposure while shooting with Live View.
Which lenses support IMAGER AF?
To view a list of Four Thirds lenses that support the IMAGER AF autofocus mode, click here.
What is the origin of the Supersonic Wave Filter (SSWF)? Where does the dust go?
The filter is so named because it shakes dust off the image sensor by using supersonic wave vibrations. The dislodged dust is affixed to three dust-collection components located around the sensor.
Is it necessary to clean or change the dust collection components?
It is not necessary to clean or change the dust-collection components under normal use for several years. The dust-collection system can easily handle the particles that are dislodged by the supersonic wave vibrations. If the camera is used constantly in severe conditions, Olympus recommends that the camera body be sent to an authorized Olympus repair service center approximately at an interval of three to five years.
What are the advantages of lenses that are designed specifically for digital camera use?
Although the small size of the individual pixels in CCD, CMOS, and Live MOS image sensors enables them to capture even more detail than film, the sensitivity of the sensor elements is highly directional. That is, they respond best to light that strikes the elements straight on.
Lenses developed specifically for digital cameras are designed to match the imaging characteristics of CCD, CMOS and Live MOS sensors, ensuring high image quality at both the center and the periphery of the frame.
On the other hand, with lenses designed for use with film, the light rays passing through the periphery of the lens strike the image sensor at an angle, and this tends to degrade picture quality at the periphery of the image area.
I cannot see the Custom Menu options? Where is the Custom Menu?
The (Custom) Menu can be used to personalize camera settings and operations. This menu is not visible by default to prevent unintentional adjustments. To view the Custom Menu, set MENU DISPLAY in the (Setup) Menu to [ON].
What are the purposes of the different record modes?
Record modes allow photographers to quickly and conveniently vary the quality settings used to capture and save images in-camera. While it is possible to always shoot at the higher-quality settings and process the images down to lower file sizes later using a computer, it may be more convenient in some situations to shoot at other than the higher-quality record modes.
Record modes can be selected using either the Super Control Panel or the camera menu.
The E-620 offers nine record modes, whose benefits are outlined below.
RAW: This is the highest-quality record mode available in the E-620, and it allows the photographer the most creative control in post-production. Images are saved to the memory card from the camera sensor with minimal image processing. Factors such as white balance, sharpness, contrast, and color are unchanged so they can be modified later on a computer. Some photographers prefer to shoot RAW all the time for all subjects, while others may shoot RAW in situations that pose complicated exposure problems, such as wedding photography.
Each camera manufacturer has its own version of RAW tailored to its cameras; therefore, special software is required to process RAW files and convert them to other image file formats. OLYMPUS Master� and OLYMPUS Studio� contain RAW processing and conversion software for the Olympus RAW format, which bears the file extension *.orf. Third-party imaging software and operating systems may use RAW plug-ins or updates to process Olympus RAW files. Without them, they would not be able to read RAW images from Olympus digital cameras. Most photo kiosks, printers, and photo labs cannot read unconverted RAW images.
JPEG: Four record modes in the E-620 create compressed JPEG image files. When the camera processes a captured JPEG image and saves it to the memory card, it uses algoritms to discard some of the data to make the file size smaller. The process of mathematically reducing a file's size by discarding some of its data is called compression. The greater the compression ratio, the more data will be discarded and the smaller will be the file size. When the image is opened on a computer, the JPEG algorithms reconstruct the discarded data.
The E-620 allows photographers the option to customize the four JPEG record modes by mixing and matching their quality settings. The factors that define a JPEG record mode are images size (determined by pixel count -- that is, literally, the number of pixels in an image) and compression ratio.
The table below shows all of the combinations of image size and compression ratio available in the E-620.
RAW+JPEG: Four record modes in the E-620 save both a RAW and a JPEG image when a picture is taken. This can be advantageous when shots are intended for use in multiple media or when the medium in which the images will ultimately be published has not been determined.
The quality settings used to process the JPEGs in the RAW + JPEG record modes are tied to the quality settings defined for the four JPEG record modes.
Why isn't there a TIFF Record Mode like in my other Olympus digital cameras?
TIFF files are very large files that take longer to write to the memory card and fill up the memory card more rapidly than RAW or JPEG files. A TIFF file in the E-620 would be about 36 MB. It is more efficient to shoot in RAW and save the RAW conversion as a TIFF file, using the OLYMPUS Master� or OLYMPUS Studio� applications.
What is the purpose of IMAGE ASPECT?
The IMAGE ASPECT function is used to change the aspect ratio (horizontal-to-vertical ratio) of images when taking pictures using Live View. The default aspect ratio is 4:3, which is the aspect ratio of the imaging sensor.
The E-620 provides four aspect ratio options. This allows the photographer to pre-visualize and shoot for specific print formats. For example - if the assignment were to shoot an event that will be printed as albums of 4 x 6 inch prints, the image aspect ratio would be set to 3:2. If the assignment were to shoot cover art for a CD sleeve, 6:6 would be selected since this would yield square images.
The table below shows the aspect ratios that are available in the E-620, the image size options for JPEG images captured using each ratio, and usage recommendations. The image that follows illustrates the shapes of images captured at each aspect ratio. Select the one that best fits the expression and purpose of the images.
When a non-default aspect ratio is selected, JPEG images are cropped and recorded using the selected aspect ratio. When the JPEG images are reviewed in Playback mode or in OLYMPUS Studio 2 or OLYMPUS Master 2 software, they are displayed at the cropped dimensions.
RAW images are not cropped, but the aspect ratio information is recorded to the digital files with the image data at the time of shooting. When a RAW image is reviewed in Playback mode or in OLYMPUS Studio 2 or OLYMPUS Master 2 software, the uncropped image data is shown overlaid by a template, or frame, based on the selected aspect ratio. The frame is provided as a reference so you can preview the effect of applying the crop.
Note: The aspect ratio information stored with RAW images can be used to crop the images in the camera (via the EDIT menu) or in the OLYMPUS Studio 2 or OLYMPUS Master 2 software. The software may require an update to recognize the saved aspect ratio information.
Can I preview the aspect ratio when taking pictures using the viewfinder?
It is not possible to preview the aspect ratio in the optical viewfinder because the viewfinder does not generate an electronic image. Rather, the viewfinder simply provides an optical path to the view, in real time, what the lens "sees."
The framing of image aspect ratios can only be seen on the LCD monitor when shooting using Live View.
What is ASPECT SHOOTING?
When IMAGE ASPECT is set to a value other than 4:3 (default setting), the ASPECT SHOOTING function determines when and how the camera applies the selected aspect ratio to captured images.
To activate ASPECT SHOOTING, press the [MENU] button and then use the arrow pad to select > ASPECT/COLOR/WB > ASPECT SHOOTING. The options are:
LV:When shooting using the viewfinder, the aspect ratio information is ignored.
When shooting in Live View mode, the aspect ratio information is used to compose and capture images. Before taking a picture, the shot can be previewed in the selected aspect ratio on the Live View LCD monitor.
JPEG images are cropped and recorded using the selected aspect ratio. When a JPEG image is reviewed in Playback mode or in the OLYMPUS Studio 2 or OLYMPUS Master 2 software, the cropped dimensions are used.
RAW images are not cropped, but the aspect ratio information is recorded to the digital files with the image data at the time of shooting. When a RAW image is reviewed in Playback mode or in the OLYMPUS Studio 2 or OLYMPUS Master 2 software, the uncropped image data is shown overlaid by a template, or frame, based on the selected aspect ratio. The frame is provided as a reference so you can preview the effect of applying the crop.
Note: The aspect ratio information stored with RAW images can be used to crop the images in the camera or in OLYMPUS Studio 2 or OLYMPUS Master 2 software. The software may require an update to recognize the aspect ratio data.
ALL: When shooting in Live View mode, the aspect ratio information is used in the same manner as in LV mode.
When shooting using the viewfinder, the aspect ratio information is stored but not applied to captured images. The effects of the selected aspect ratio are not displayed in the viewfinder. Images are not cropped, but the aspect ratio information is recorded in the digital files along with the image data at the time of shooting. When an image is reviewed in Playback mode or in the OLYMPUS Studio 2 or OLYMPUS Master 2 software, the uncropped image data is shown overlaid by a template, or frame, based on the selected aspect ratio. The frame is provided as a reference so you can preview the effects of applying the crop.
Note: The aspect ratio information stored with the images can be used to crop the images in the camera or in the OLYMPUS Studio 2 or OLYMPUS Master 2 software. The software may require an update to recognize the aspect ratio data.
What are MULTIPLE EXPOSURE and IMAGE OVERLAY?
MULTIPLE EXPOSURE and IMAGE OVERLAY are options built into the E-620 that enable multiple images to be combined and saved as a single image (two images and three images, respectively).
MULTIPLE EXPOSURE, located in the menu, is used at the time of image capture -- for example, to add a telephoto shot of the moon to a night skyline shot. Two RAW or JPEG shots can be combined into one image. (The record mode is fixed after the first shot in the sequene.) You can also select a stored RAW image and shoot additional RAW or JPEG exposures to overlay onto the stored image. The record mode used to capture the overlaying exposure(s) will determine the file format of the final, combined image.
IMAGE OVERLAY, located in the > EDIT menu, is used to combine up to three RAW images previously saved on a memory card.
What is the purpose of the Scene mode?
The E-620 has a Scene mode that optimizes the camera settings for specific shooting conditions. All of the settings applied in the 13 available Scenes can also be applied via controls in the camera menu, but applying them manually can be time-consuming. In addition, amateur photographers may not have a deep enough knowledge of photography to select the appropriate settings for some situations that advanced amateur and professional photographers would employ. For example, here are the settings applied by the FIREWORKS Scene:
These are the optimum settings for shooting fireworks. Selecting the FIREWORKS Scene sets the camera up with appropriate settings tailored to the subject matter, all in one step.
Some scenes can be selected directly from the Mode Dial, and others are accessed via the Scene Select menu. Is there a difference?
Yes. When using a Scene that is selected via the Mode Dial, the Super Control Panel remains active so that the photographer may change certain settings, such as White Balance or ISO. The Super Control Panel is accessed by pressing the [] button.
When using a Scene that is selected via the Scene Select menu (by turning the Mode Dial to ART/SCENE and then using the arrow buttons to select Scene mode and to choose the desired scene), most camera settings are controlled by the camera and so are fixed. The Super Control Panel is not available. Instead, pressing the [] button invokes the Scene Select menu so that a new Scene can be selected.
What are the Art Filters?
Art Filters enable the application of creatve in-camera effects while shooting. The Art Filters are:
When the Art Filters are in use, the Super Control Panel is inactive.
Is it possible to "undo" an Art Filter after it has been shot?
No. However, if the camera's Record Mode is set to RAW+JPEG, only the JPEG image will be processed by the camera using the selected Art Filter. The RAW image will not be processed by the camera other than to perform lossless compression. If you decide after taking the shot that you would prefer a different effect, you can still use the RAW image to post process the shot to your taste.
In the White Balance (WB) menu, what do all the numbers followed by a "K" mean?
The color balance of different light sources in the color spectrum is rated numerically by color temperature in the standard Kelvin (K) temperature scale. A color temperature value is expressed as a number followed by a �K,� for Kelvin.
The chart below shows approximate values of different light sources in the E-620 White Balance menu:
Color temperature settings can be applied in situations for which they are not intended for creative effects. For example, a tungsten setting can be used on a cloudy day to produce a surreal effect suggesting cold.
The Custom White Balance (CWB) settings in the White Balance menu allow photographers to select more accurate color temperature settings. Many commercially available lamps are labeled with color temperature ratings that fall between 3000K and 4000K, so a photographer is able to set up the camera for more accurate color rendition.
With so many White Balance settings available, why and when should I use One-Touch White Balance?
There are many light sources and situations that are not covered by Auto White Balance or the other settings in the White Balance menu. There are many noncontinuous light sources that do not have all of the colors of the spectrum, such as fluorescent, mercury vapor, and sodium vapor lights. There are also situations in which many different types of lights are used in one environment. These do not neatly fit into what the camera firmware knows about white balance, so it is necessary to �educate� the camera about the specific light balance by shooting a white reference subject such as a white card and saving the data in the White Balance menu as a One-Touch White Balance.
In the PICTURE MODE > MONOTONE feature, what is the purpose of the B&W Filter options?
In black-and-white film photography, different colored filters are placed in front of the lens to modify the tones in the final image. These are called contrast filters. One popular effect created with contrast filters results in a landscape photograph with majestic clouds against an almost black sky. This effect is obtained by shooting through a deep red filter, which makes the blue in the sky darker.
A general rule of thumb regarding the use of contrast filters is: The filter makes its own color lighter in tone and its opposite color darker in tone.
The E-620 is able to create these effects without using physical filters by modifying the performance of the red, green and blue color channels in the MONOTONE mode.
The functions of the B&W filters are described below:
The B&W Filter effects can be previewed on the Live View screen before shooting.
Is it possible to take time-lapse photo sequences with the E-620?
The E-620 can take time-lapse photo sequences when connected to a computer running the optional OLYMPUS Studio� 2 application software. Unlike built-in intervalometers found in some digital cameras, OLYMPUS Studio 2 offers very detailed computer camera control over preset time periods.
To use this functionality, connect the camera to a computer using the USB cable bundled with the camera. Set the camera�s USB Mode to CONTROL. In the application, open the Camera Control window and choose Time Lapse from the menu or click on the Time Lapse icon on the Camera Control window�s toolbar. The following dialog will be displayed:
Configure any or all options, and then click the Start Shooting button to begin the time-lapse sequence. The images will be saved on the computer � not the memory card.
Can Shadow Adjustment Technology be applied while I'm shooting?
Yes. Shadow Adjustment Technology (SAT) can be enabled for shooting by selecting the AUTO option from the > GRADATION menu.
When AUTO is selected, the image is divided into detailed regions of brightness and the brightness of each region is adjusted separately. This is effective for images with long contrast ranges in which the highlights may appear too light and the shadow areas too dark.
My 35mm SLR had a mirror lockup to let the camera vibration settle down before the shutter tripped. Does the E-620 have this?
The E-620 has an [ANTI-SHOCK] function that diminishes camera shake caused by vibrations when the mirror flips up. This feature can be useful in astrophotography, photomicroscopy or other applications where a very slow shutter speed is used and camera vibration needs to be minimized. The interval between the mirror flipping up and the shutter opening can be preset via the > EXP//ISO menu.
Does the E-620 have a programmable Custom Function button?
The [] button in the upper right corner of the camera back is the E-620�s Custom Function button. To change the function assigned to [], do the following:
The functions of the [AEL/AFL] and the [] buttons can be interchanged. To swap them:
What is the purpose of AF FOCUS ADJ?
AF FOCUS ADJ (Autofocus Focus Adjust) enables the user to adjust the focus plane of a lens to the user's preference. For example, if a 50mm lens is being used as a portrait lens, when the lens is focused on the eyes, the actual plane of focus can be moved a bit forward to keep the tip of the nose in focus.
What are the differences among the three Image Stabilizer options?
The Image Stabilizer has the following three options:
For how many steps of shutter speed does the Image Stabilizer compensate?
The effect of the Image Stabilizer is equivalent to up to four shutter speed steps, according to Olympus' testing conditions. The value varies depending on the lens and shooting conditions. For example, when you shoot with shutter speed 1/15 the Image Stabilizer compensates for camera shake equivalent to 1/250.
Note: Image Stabilization may not be possible at very low shutter speeds or when the camera is severely shaken.
Where can I find the documentation for this camera?
The E-620 is packaged with a printed Instruction Manual. The documents can also be downloaded in PDF format by clicking here.
Adobe Reader� is required to view the PDF files. The software is available as a free download from Adobe's web site.
How do I update the firmware in the E-620 camera body and E-System lenses?
Firmware updates of Olympus E-System digital SLR bodies and Zuiko� Digital lenses are performed using OLYMPUS Master� or OLYMPUS Studio� software. Each version of the software has an Update Camera function that is used to initiate the update procedure.
Below are the locations of the update functions in the various software versions:
Before updating, mount an Olympus Zuiko Digital lens to the camera body and set the camera body�s USB MODE to STORAGE. Connect the camera to a computer via its bundled USB cable. The computer must be connected to the Internet because the download and installation are managed online from an Olympus server. The camera battery should be fully charged. When these prerequisites are met, launch the software and click on the update function.
The update process will first poll the camera and lens to determine what firmware versions are currently installed. It will then ask if you want to search for newer versions. If a newer version is found, you will be prompted to perform the update. Step-by-step instructions will guide you through the process.
Follow the on-screen instructions carefully. If you deviate from the instructions, the firmware installation may not complete and the firmware may become corrupted. If this occurs, the camera will have to be sent to an Olympus Repair Service Center to have its firmware replaced. Do not do a firmware update during a storm or when there is a risk of losing power because this will also cause a corrupted firmware installation.
Once the firmware is updated, it is not possible to go back to a previous version.
You can check the firmware version of your camera and lens at any time when the camera is not connected to a computer. Open the menu, go to the menu, scroll to FIRMWARE and toggle right. The LCD will display the firmware version for the camera body and the currently mounted lens.
Lenses can be upgraded individually using the same update process even if the camera body already has the most current firmware. Mount a different lens on the body and repeat the update process as though you were updating the camera body.
I don't own an E-System camera body. How can I update the firmware of my E-System lens?
Olympus Imaging Corp., Panasonic Corporation and Sigma Corporation offer a joint firmware update service that makes it possible to download and install firmware for one another's Four Thirds System-compliant lenses when the lenses are attached to any of the companies' Four Thirds System-compliant cameras. Therefore, the firmware in an Olympus lens can be updated while the lens is mounted to a Panasonic camera body.
To update the firmware of an E-System lens when mounted to a Panasonic camera body, refer to the Panasonic support Web site.
For more information on the joint firmware update service, visit the Four Thirds System Web site.
Can I use the E-620 to update the firmware of any Four Thirds System-compliant lens?
The answer depends on what company manufactured the lens.
Olympus Imaging Corp., Panasonic Corporation and Sigma Corporation offer a joint firmware update service that makes it possible to download and install firmware for one another's Four Thirds System-compliant lenses when the lenses are attached to any of the companies' Four Thirds System-compliant cameras. The service is not available for Four Thirds System-compliant lenses manufactured by other companies, such as Kodak, Fuji and Sanyo.
Panasonic/Leica and Sigma lenses mounted to an Olympus E-System camera body can be updated using the software packaged with the camera. Click on the appropriate link below for complete instructions.
Update using OLYMPUS Master 2.x.Update using OLYMPUS Master 1.x/ OLYMPUS Master Plus 1.x.Update using OLYMPUS Studio 1.x / OLYMPUS Viewer 1.x.
How do I insert a memory card into the E-620?
To insert the memory card into the E-620, power off the camera and then do the following:
How is the Enlarged Display operation used in Live View?
The Live View Enlarged Display option provides an enlarged view of a selected area in the image to facilitate fine manual focus.
When Live View is enabled, pressing the [INFO] button reveals a green target area that is to be enlarged in the center of the LCD screen. The target area can be repositioned on another area of the image by using the arrow keys on the camera back. Pressing the [OK] button causes the target area to be enlarged.
The degree of magnification can be changed to 5x, 7x or 10x by turning the Main Dial. Pressing [OK] again will return the image on the LCD screen to the normal viewing size.
Sometimes when I turn off the E-620, I feel a slight vibration or hear a noise. Why is that?
When the camera is powered down, slight vibration and noise occur as the Image Stabilization motor resets the image sensor to its default position. The E-620 takes this action when shooting with the Image Stabilizer function set to I.S. 1, I.S. 2 or I.S. 3. In these modes, the camera moves the sensor during shooting in order to counter the effects of camera shake. When the power is turned off, the camera moves the sensor back into the default position.
When Image Stabilizer is set to OFF, the sensor does not move during shooting and so does not need to be reset. However, if shooting with a zoom lens, some noise may still be heard when the camera is powered off as the lens resets its focus to infinity.
If both Image Stabilizer and Lens Reset are set to OFF, the camera will power down in silence.
I have a lens from another manufacturer that has built-in image stabilization. Will I get more image stabilization if I mount it on the E-620 and enable its Image Stabilizer?
In such a scenario, it is recommended to use one or the other, but not both image stabilizers simultaneously. If both lens and body image stabilization are being used at the same time, the combination may be counter-productive because the camera image stabilization would be trying to compensate for the lens image stabilization and not be able to arrive at a stabilized image.
What are the P, A, S and M modes and how are they used?
The P, A, S and M modes are exposure modes. These exposure modes allow the photographer creative flexibility by enabling more control over shutter speed and f-stop settings while shooting. The exposure modes enable total access to the menu options, unlike the AUTO and Scene exposure modes found in Olympus consumer DSLRs. They are also the modes required for use with E-System flash accessories.
Briefly, the exposure modes and their applications are as follows:
The E-620 has five focusing modes. Which should I use?
The five focusing modes are provided to offer the photographer greater flexibility in setting up the camera for diverse shooting situations. Any of the focusing modes that have an MF in their designation allow the photographer to adjust the focus by turning the focusing ring on the lens.
The subject I want in focus doesn't line up with any of the AF Frames in the viewfinder. How do I get the camera to focus on the subject?
The Focus Lock function enables the photographer to prefocus on a specific subject, lock the focus, and then re-compose the image and shoot the picture.
What is the difference between NORMAL and SMALL AF SENSITIVITY?
NORMAL AF SENSITIVITY is used for most shooting situations. In this setting, the camera uses a focusing area (focusing point) that is slightly larger than the area indicated in the viewfinder. SMALL AF SENSITVITY focuses only within the selected AF area. This setting can be useful in situations such as wildlife photography where it is necessary to photograph animals through tree branches in the foreground. Using a more precise AF area will reduce the chance of the autofocus system becoming confused by the branches.
Is there a way to shoot if I don't want to wait for autofocus to lock or the flash to recycle?
Normally, the E-620 will not shoot while autofocus is operating or the flash is charging. However, situations may arise where the photographer would want to override the camera and force it to fire under marginal shooting conditions when the camera may not be ready to shoot.
The Shutter Release Priority function will permit the camera to shoot even though normal shooting requirements are not met. The function is found in the menu under RELEASE/. Two options are available:
Be advised that overriding the camera creates special considerations. Shooting before the flash has recycled may cause images to be underexposed if ambient light is insufficient to illuminate the subject. Shooting before autofocus has locked may result in blurry images, particularly when the subject is in motion. To compensate for the loss of autofocus, increase the depth of field by shooting with the smallest aperture that is practical for acquiring the shot.
In the CARD SETUP menu, the options are ALL ERASE and FORMAT. What is the difference between these settings?
ALL ERASE deletes all of the images from the memory card directory except for those that have been protected. FORMAT deletes all of the images from the memory card directory and overwrites the directory. In both cases, the actual digital images are still on the memory card until new images are shot that overwrite the old images. Therefore, if images are inadvertently erased or formatted, it may be possible to retrieve them via image recovery software.
If ALL ERASE is used exclusively to delete images, over time a buildup of artifacts in the directory may corrupt the memory card. The FORMAT option is recommended to preserve the integrity of the memory card and extend its useful life.
When and why should I use the camera's Eyepiece Cover?
During normal shooting, the photographer�s face and the camera�s eyecup work together to shade the viewfinder and prevent light from entering the metering system of the camera through the viewfinder. When the camera is on a tripod, light can enter the viewfinder from behind the camera because the photographer may be standing away from the camera. This is most likely to happen if the sun is low and behind the camera or the photographer is shooting a night shot and street lighting is shining into the viewfinder. In both cases, this extraneous light can shine into the metering system and can skew the exposures, resulting in under-exposed images. Removing the viewfinder eyecup and replacing it with the eyepiece cover blocks extraneous light from entering the viewfinder so the exposures will be more accurate.
How do I use the different metering modes?
The camera provides several metering options that allow the photographer to have greater creative control over exposure. The metering modes can be set in the Control Panel screen or the camera menu. Descriptions and applications of the metering modes are detailed below:
What is the purpose of Exposure Compensation?
Metering systems in cameras measure light but do not have a way of determining what the subject matter is, so the exposure decisions the metering system makes may not always be appropriate for the subject matter. This phenomenon is called subject failure. As with Spot metering, the human touch may be required to arrive at correct exposures. Exposure Compensation allows the photographer to set up the camera to under- or overexpose in specific situations.
When the (Exposure Compensation) button is pressed, the Exposure Compensation scale is shown on the LCD�s control panel. It looks like this:
In the example, Exposure Compensation is set to underexpose one f-stop. The function can be set to under- or overexpose up to three f-stops in 1/3-stop increments.
It is important to set the compensation back to 0 before shooting subjects in other conditions so the subjects will be properly exposed. When the Exposure Compensation is set to 0, the scale is not displayed in the Control Panel screen.
The Exposure Compensation value is also displayed in the viewfinder.
Which ISO setting should I use?
Think of the ISO values as film speeds. Low ISOs such as 100 and 200 are better-suited to situations in which there is a lot of light � outdoors scenes. ISOs 400 and 800 would be used outdoors where there is plenty of light and fast shutter speeds are desired � sports and air shows, for example � or indoors for available light shooting. ISO 1600 and above would be used where there are very low light levels, such as indoors or at night.
How does the E-620 combat noise commonly found at high ISOs?
Digital cameras vary the light sensitivity of the image sensor by varying the gain voltage applied to the sensor, much like turning up the volume on a stereo. When the gain voltage is increased, as it is when shooting with higher ISOs, the sensor becomes hot. Hot pixels perform differently under extreme conditions. The result is a graininess known as �noise.�
Noise occurs whenever sufficient heat has built up on the image sensor. Therefore, it can also be seen in images with long exposures, such as night photographs, due to the additional heat generated by charging the sensor for an extended period of time. All digital cameras include technologies to minimize the effects of noise. The E-620 uses a sensor that dramatically decreases noise. In addition, it combats noise with two methods: NOISE FILTER and NOISE REDUCTION.
The NOISE FILTER function is found in the menu. It has four options: OFF, LOW, STANDARD and HIGH. The majority of digital cameras have a default noise filter that is always on. Some photographers feel that this reduces detail, so Olympus has included the option to not use a noise filter at all.
If NOISE FILTER is set to OFF, it is recommended to set the SHARPNESS setting to �2. If SHARPNESS is set to 0 it may exaggerate the noise when no noise filtering is being applied.
The NOISE REDUCTION function can also be enabled from the menu. After the first exposure, the camera makes a second exposure of equal length with the shutter closed. It then, in effect, overlays the two images, finds the hot pixels in the second image (essentially, any pixels that aren't black) and deletes the corresponding pixels from the first image. This doubles the shooting time. If the first exposure is 12 minutes 30 seconds, the second, black exposure will also be 12 minutes 30 seconds for a total exposure time of 25 minutes.
What do the fractions in the Manual Flash settings represent?
The camera gives the photographer the option of using different power settings in the Manual Flash mode to balance the fill flash with available light exposure. Celebrity and news photographers use fill-flash outdoors to throw a little extra light into shadows to �open� them up and get a more pleasing image. This technique is also used in landscape and travel photography to show a little more detail in the shadows of foreground subjects.
The fractional settings (FULL, �, 1/16, 1/64) allow the photographer control over how much light is needed to fill the shadows at varying distances. The sync speeds used are between 1/60 and 1/180 second.
I shot in the RAW format and I need a JPEG image, but I'm away from my computer. How can I convert the RAW files to JPEGs in the field?
This camera has a RAW editor in the Playback menu that allows the photographer to not only convert the RAW file to a chosen JPEG record mode, but also to apply to the converted JPEG image various adjustments to settings such as white balance, sharpness, contrast and color.
To edit a RAW file in camera:
A JPEG copy of the RAW image that reflects the camera's current settings will be saved to the memory card. The RAW image will not be altered.
What does the optional OLYMPUS Studio 2 software do, and how can I get it?
OLYMPUS Studio 2 is imaging software for personal computers that allows photographers to speed up organizational and post-processing tasks associated with the photography workflow, such as examining and selecting the best shot from a large number of images; searching disparate folders and albums for a desired image; comparing similar images side-by-side on a virtual lightbox; batch processing edits and print jobs; etc. It also has a camera control function that lets photographers operate Olympus E-System cameras remotely or save images directly to a computer instead of a memory card. (These operations require that the camera be connected to the computer using its bundled USB cable.) The software can also be used to update the firmware of Olympus digital cameras or to change the language of the camera's menu system and LCD displays.
The software is supported on the following operating systems: Windows 2000 Professional, Windows XP Home Edition, Windows XP Professional (32-bit), Windows Vista (32/64-bit), Windows 7 (32/64-bit, but please see these caveats), and Mac OS X 10.3 ("Panther") through 10.5 ("Leopard").
To download a free, 30-day trial of the latest version of OLYMPUS Studio 2, please click on the appropriate link:
For information on obtaining a permanent license key, please send an email to firstname.lastname@example.com.
Does the E-620 support the Olympus wireless RC flash system?
The E-620 supports the Wireless Flash System in which the camera's built-in flash acts as a controller that sends data commands to FL-36R and FL-50R electronic flash units
The system can control up to three groups of flash units. The camera and flashes have four control channels to choose from so the flashes and camera will not receive signals from other Olympus wireless RC flash systems operating nearby. The photo below shows the main setup screen for the wireless flash system in the E-620.
The flash group, channel and settings are then set up on the flash units. When the camera shutter is tripped, the camera�s built-in flash emits a very high-speed burst of data in a pre-flash that commands the performance of the flash units.
This diagram shows a placement of three flash groups using the Olympus wireless RC flash system:
For details on the operation of the wireless RC flash system operation, please refer to the manual for the FL-36R or FL-50R.
Olympus wireless RC flash system flashes can be purchased from authorized Olympus dealers or online directly from The Olympus Store. To order the FL-36R (Item #260115), click here. To order the FL-50R (Item #260116), click here.
Can the E-620 use a flash with shutter sync speeds higher than 1/180th of a second?
The optional FL-36, FL-36R, FL-50 and FL-50R flash units have a Super FP Flash mode which enables flash sync at shutter speeds higher than 1/180th of a second. This is accomplished by the flash emitting what is essentially a very high-speed stroboscopic �flicker� flash, rather than a single flash of light. Situations in which this would be desirable would be fill-flash outdoors in bright sunlight where high shutter speeds would be needed.
I have E-System flash accessories that I've been using with my E-1. Are these compatible with the E-620?
The E-System flash accessories are fully compatible with the E-620. These include:
Can I use my Olympus FL-40 external flash on the E-620?
The Olympus FL-40 external flash is not compatible with the E-620 because it was not designed to work with the TTL firmware in the camera.
I have a third-party electronic flash. Can I use it on the E-620?
Flash units that are not part of the Olympus E-System may pose problems if used on the E-620.
Thyristor-type flash units can be used with the E-620�s Manual shooting mode as long as the sync voltage does not exceed 6.5 VDC. Third-party TTL flash units will not have TTL capability because the contact pins in the camera hot shoe probably won�t align with the contacts on the flash. In addition, the TTL communication with the E-620 may damage the camera circuitry or corrupt the camera firmware.
Can I use the E-620 with my studio flash equipment?
The E-620 uses an electronic rather than mechanical sync circuit that is rated at 6.5 VDC maximum sync voltage. Also, the polarity of the studio flash sync pulse may be opposite the polarity of the E-620 sync circuitry.
Studio flash equipment should be connected to the E-620 using the Safe Sync Hot Shoe to PC Sync Adapter. The adapter protects the camera from excessive sync voltage up to 400 VDC, and automatically corrects sync pulse polarity.
This item (#200329) may be purchased from authorized Olympus dealers and also online directly from The Olympus Store. To order from The Olympus Store, click here.
What size CompactFlash cards can the E-620 accept, and does it support the benefits of Write Acceleration CF cards?
The E-620 accepts CompactFlash cards up to 16 GB capacity and supports Write Acceleration CompactFlash cards. When the camera polls the card at power up, if it detects Write Acceleration technology, it enables its own Write Acceleration firmware. The E-620 also supports UDMA (Ultra Direct Memory Access) CompactFlash cards.
Click here to see a list of all compatible CompactFlash media.
Does this model support Microdrive storage media?
Microdrive storage media that support the CF + Type II (CompactFlash extension standard) are compatible with this model. Because Microdrive media use a spinning hard disk drive (HDD) as the recording medium, they are susceptible to damage from impact, vibration, and strong magnetic fields � especially during recording and playback. Be sure to carefully read the instructions that come with Microdrive media.
Note: The data on Microdrive cards will not be erased completely even after formatting the card in-camera or deleting the data. When discarding Microdrive cards, destroy the cards to prevent leakage of personal information.
Can I use my OM-series 35mm SLR lenses on the E-620?
Olympus OM-series lenses can be mounted on Olympus E-System DSLRs with the optional MF-1 OM Adapter. OM-series lenses are unable to communicate with the firmware in E-System camera bodies. Therefore, their use in this fashion has the following restrictions:
When mounted to the E-620, OM-series lenses may take advantage of the camera's Image Stabilizer function.
Because the OM-series lenses were designed for film rather than for use with a digital sensor, the image quality may not equal that produced by Zuiko� Digital lenses.
To purchase the MF-1 OM Adapter (Item #260231) from The Olympus Store, click here.
Does the Image Stabilizer function in the E-620 work with Olympus OM-Series lenses?
The Image Stabilizer function in the E-620 can be applied to OM-Series manual lenses.
The Image Stabilizer function must know the focal length of the attached lens in order to apply the correct compensation to the sensor when the camera senses camera shake. Zuiko� Digital lenses, being "smart" lenses, automatically provide this information from the firmware in the lens to the firmware in the camera body. Manual lenses contain no electronics, so focal length information must be entered manually by the photographer.
The MF-1 OM Lens Adapter is required to attach an OM-Series lens to the Four Thirds� mount on the E-620. To purchase the MF-1 OM Lens Adapter (Item 260231) from the Olympus Store, click here.
To set the focal length of an OM-Series lens do the following:
The focal length settings available in the E-620 are shown below:
Do not take into account the 2x magnification factor applied in the Four Thirds system; enter the actual focal length of the lens being used. If the attached lens has a focal length that is not shown on the chart, please select the closest value.
Manually entered focal length settings are ignored when a Four Thirds system lens is attached.
How many images can be shot on a single charge of the BLS-1 lithium-ion rechargeable battery?
Although the number of images that can be captured depends upon the shooting conditions and the camera functions used, a fully charged BLS-1 battery should take approximately 500 images before it needs to be recharged.
Do I need a voltage converter to use the bundled BCS-1 battery charger outside the U.S.?
The BCS-1 Battery Charger bundled with this camera is rated at 100-240 VAC and automatically adjusts itself for the local current. However, you may have to get a set of plug adapters for the different wall outlets used in foreign countries. Plug adapter kits are available at electronics and luggage stores.
What accessories are available to remotely control the E-620?
Two optional remote controllers are available for the E-620: the RM-UC1 Remote Cable Release (item #260237) and the RM-1 Remote Control (item #200597).
The RM-UC1 connects to the same USB port on the camera that is used to connect the camera to a computer. The RM-1 is a wireless controller.
Both devices remotely trigger the camera's shutter button, and both can be used for long (BULB) exposures such as night photographs. The camera can be set to release the shutter immediately or two seconds after the shutter button on the remote control is pressed. The response time is set by pressing the [MODE] button, located to the left of the viewfinder, and then using the sub dial to select the setting. The setting is viewed on the Control Panel on the top right of the camera.
Both remote controllers are available online from The Olympus Store. To order the RM-UC1, click here. To order the RM-1, click here.
The E-620 can also be remotely controlled from a computer using the bundled USB cable and the Camera Control feature of the optional OLYMPUS Studio� 2 application.
How can I take long (BULB) exposures using the optional RM-UC1 Remote Cable Release?
The RM-UC1 has a sliding lock to lock the cable release for BULB exposures such as night photographs. When the lock is in the "Up" position, the camera shutter will remain open after the shutter button on the remote control is pressed. Slide the lock to the "Down" position to close the shutter.
The RM-UC1 is available from authorized Olympus dealers and also online from The Olympus Store. To order the RM-UC1 from The Olympus Store, click here.
How can I take long (BULB) exposures using the optional RM-1 Remote Control?
The procedure is as follows:
The RM-1 Remote Control is available from authorized Olympus dealers and online from The Olympus Store. To order the RM-1, click here.
When I look through the viewfinder, the image does not appear to be sharp. Why?
You may need to adjust the viewfinder's diopter to your vision. To the right of the viewfinder eyepiece cup is the diopter adjustment dial. While looking through the viewfinder, rotate the diopter adjustment dial until you can see the AF target clearly in the center of the viewfinder.
Olympus also makes �3 and +3 diopter viewfinder eyecups. They can be purchased through authorized Olympus dealers or directly, online, via The Olympus Store. To purchase the Dioptric Eyecup DE-N3 �3 Diopter from The Olympus Store, click here. To order the Dioptric Eyecup DE-P3 +3 Diopter, click here.
After I attach a lens to the camera body, my camera seems unable to secure autofocus. This problem is intermittent but affects multiple lenses. Why is this happening?
If the problem occurs with every shot taken with every accessory lens, the camera may be broken. However, if the problem occurs sporadically � and chiefly only after attaching a lens � then it is possible the lens(es) may not have been attached properly.
Remove the lens from the camera and look at the silver mount. Nine gold-colored pins are arranged below the mirror in an arc. These pins must make firm contact with the gold-colored touch points on the back of the lens. This happens naturally when the lens is attached properly, but if the lens is not locked into place then one or more pins may not receive sufficient pressure to maintain contact during use.
To attach a lens to the camera body, align the lens attachment mark (red circle) on the camera mount with the alignment mark (raised red knob) on the side of the lens. Then insert the lens into the camera�s body. Rotate the lens clockwise and listen for a click. The click is an audible indication that the lens lock pin has snapped into place on the back of the lens and has secured the lens in the proper position. The lens lock pin is the small silver pin on the lens mount in between the mirror and the lens release button.
Do not press or hold down the lens release button while attaching a lens to the mount. The lens release button forces the lens lock pin to retract into the camera so that the lens can be removed without breaking the pin. If the button is held down while attaching the lens, it may not align with the hole on the back of the lens after the button is released. This will result in a situation in which the lens is attached to the camera mount but is not locked into place. It is possible that this condition will prevent the lens from making and retaining a firm connection to the camera. This will inhibit autofocus and may increase the lag time between shots.
Sometimes when I'm shooting in dim light I have difficulty getting the camera to focus. What can I do?
Digital cameras autofocus by detecting differences in the contrast between light and dark areas of the image projected onto autofocus the sensor. If the light is dim or the image has somewhat flat contrast, the camera may have difficulty focusing. The E-620 has an AF Illuminator feature that uses the flash to illuminate the subject just before the exposure is made, thereby assuring autofocus.
To enable the AF Illuminator:
When I'm shooting close-up subjects, I can hear the lens trying to focus and see it trying to focus through the viewfinder, but it does not secure focus. What can I do?
If the lens seems to be unsuccessfully searching for a focus point, you may be too close to the subject matter for that particular lens. Lenses have a minimum focusing distance, and zoom lenses have different minimum focusing distances at different zoom settings. If you back away from the subject, the lens will focus at some point.
If you intend to do macro or close-up photography, you may want to invest in a macro lens or the EX-25 Extension Tube.
The E-System has two macro lenses:
The EX-25 Extension Tube mounts between the lens and the camera body and reduces the minimum focusing distance of E-System lenses by moving the lens 25 mm away from the camera sensor. Lenses mounted with the EX-25 are not able to focus to infinity. It is necessary to manually focus lenses mounted with the EX-25 for more accurate focus. A table of the adjusted focusing distances of E-System lenses when mounted on the EX-25 can be found here.
After inserting an 8GB Hitachi Microdrive memory card into the card slot, the card access lamp blinks and I am unable to shoot. Why is this happening?
When using an 8 GB Hitachi Microdrive card, the camera's card access lamp may blink for up ro two or three minutes the first time the card is inserted into the card slot. When the card access lamp stops blinking, the camera is ready to shoot.
When I put a formatted CompactFlash card in my E-620, the display shows a capacity of RAW files that doesn't appear to be accurate. Why?
When the E-620 saves a captured image as digital data and writes it onto the memory card, it performs complex mathematical calculations to convert the image into binary code data to be saved and later retrieved. Since images are unique, each calculation is unique. The manual for the E-620 shows that a RAW file is approximately 13.9 megabytes. However, since the factors comprising each image are unique, each calculation is unique and the results of the calculation will vary. The E-620 writes a lossless RAW file, and one of the ways it does this is by sampling some of the factors in the image. A winter landscape consisting of predominantly white snow and blue sky will produce a smaller data file than a scene such as Times Square at night. The richness of the latter scene will result in a larger file.
When the E-620 polls a formatted memory card, it is looking at a blank slate. It has yet to do the math for any images and is programmed to start out with a conservative capacity estimate. As the camera shoots more images, it recalculates the capacity as it �learns� about the image files it is creating. As the card fills up, the estimated capacity of RAW files on the display will become more accurate.
The majority of photographers carry more than one memory card in the event that the memory card in the camera should fill up. The E-620 also features an xD-Picture Card� slot to hold a second card. If the capacity of the CompactFlash card is close to maximizing, the photographer can switch to the xD-Picture Card media or can transfer files from the CompactFlash card to the xD-Picture Card media to free up more capacity on the CompactFlash card.
On an assignment I used several memory cards. Now when I'm downloading the images onto my computer and trying to save them, I get a message that says "Image (file name.jpg) already exists. Replace it with the new file?" What's going on?
The E-620 has two settings for creating file names for the images it captures:
Another way to avoid this problem is to change the first character of the file name using the EDIT FILENAME function in the camera's RECORD/ERASE menu. This has an added benefit of identifying which camera captured each image.
Why does the ISO value displayed in the viewfinder blink when it is set to ISO 2000 or higher?
At ISOs such as 800 and 1600, image noise in the E-620 is very clean and resembles film grain. At ISOs of 2000 and higher, the noise is still relatively clean, but the photographer may not want to change the setting of the NOISE FILTER to reduce image noise-in camera. The blinking ISO serves as a reminder to refer to the NOISE FILTER setting before shooting at high ISOs. The NOISE FILTER options are OFF, LOW, STANDARD and HIGH.
Changing the NOISE FILTER option does not stop the ISO value displayed in the viewfinder from blinking.
When my images are displayed on the camera's LCD screen, there are blinking red and blue areas in the image. How do I get rid of them?
What you are seeing is a part of the histogram feature. In the lower left corner of the LCD screen, you will see a little box that says SHADOW/HILIGHT. The blinking red regions identify areas in the image that have no detail due to underexposure (SHADOW) and the blinking blue regions identify areas in the image that have no detail due to overexposure (HILIGHT).
The blinking display doesn�t mean there is anything wrong with the camera. Like film cameras, digicams have a limited brightness range within which they can capture images. If the camera metering is weighted toward the highlights, there will be a lack of shadow detail. If the camera metering is weighted toward the shadows, there will be a lack of highlight detail. In bright sunshine, a picture may have areas lacking both highlight and shadow detail. On a grey, cloudy day, there may be detail throughout the image. The purpose of the black blinking areas is to give the photographer feedback about the exposures. If necessary, the photographer can apply options such as AE Bracketing or Exposure Compensation to reshoot the image.
The SHADOW/HILIGHT view is among five options that can be selected by pressing the [INFO] button while displaying images in Playback mode. Pressing [INFO] repeatedly cycles through the views, each of which displays different image information.
When I try to use the AE Bracketing function, why do I only get one frame instead of the three I selected?
The camera's Drive mode is set to Single Frame shooting. Configured this way, which is the default setting, the shutter button must be pressed for each bracketed frame. If the Drive mode is set to the Sequential Shooting option, then pressing and holding down the shutter button will cause the camera to shoot all the bracketed frames in one burst. In (Sequential Shooting H) drive mode, images are captured at a rate of five per second for as long as the shutter button is held down. In (Sequential Shooting L) drive mode, images are captured at the rate (between 1and 3 persecond) registered in the function, located in the RELEASE/ menu.
To change the Drive mode, do the following:
The LCD screen shows the following message: "Internal camera temperature is too high. Please wait for cooling before camera use." Then the camera shuts off. What causes this message to appear?
As a safety measure, the camera issues this message and shuts itself off whenever its internal temperature climbs too high. This may happen after frequent or continuous use of Live View or a shooting mode that captures many images in a short time, such as the Sequential Shooting drive mode. In these situations, the image sensor may not get a chance to cool off in between shots. The heat of the sensor raises the camera�s internal temperature. If it gets high enough, the camera must turn itself off. Once the camera has cooled for a few minutes, you will be able to resume shooting.
My camera is connected to my TV with the video cable to play back my photos, but I don't see any images.
Most televisions have AV (Audio Visual) input channels (usually found below Channel 2) to play images and videos from digital cameras and camcorders. After connecting the camera to the TV, use the TV channel selector to move downward through the channels until you see the camera menu on the TV screen.
If the image quality on the TV screen appears to be distorted, the camera may be set to a video output format that is incompatible with that of the TV. In the camera's menu, check the VIDEO OUT setting. In North America, the setting should be NTSC.
I cannot control my camera with the RM-1 Remote Control although the camera is set up correctly for remote control shooting. Why not?
Other than the battery being exhausted, the frequency of the RM-1 may need to be changed for the remote control to be recognized by the camera. With the camera on, point the RM-1 at the Remote Control lamp on the front of the camera. On the RM-1, press the [CH] button and the [W] or [T] button simultaneously until the camera emits a beep sound. The RM-1 frequency will then be compatible with the camera.
When attempting to install OLYMPUS Studio on a computer running Macintosh OS X 10.5.x ("Leopard"), I get the following error: "The current user does not have administrative privileges. Log on as an administrator." What should I do?
Download the latest version of OLYMPUS Studio by clicking here. Run the installer file (OS222EN.dmg). This will overwrite the previous installation of OLYMPUS Studio and allow you to use the application in your environment.
When attempting to install OLYMPUS Master 2 on a computer running Macintosh OS X 10.5.x ("Leopard"), I get the following error: "The current user does not have administrative privileges. Log on as an administrator." What should I do?
Download the latest version of OLYMPUS Master 2 by clicking here. Run the installer file (OM211EN.dmg). This will overwrite the previous installation of OLYMPUS Master 2 and allow you to use the application in your environment.
When I use the Live View screen to compose a shot under fluorescent, sodium-vapor or mercury lamps, I see flickering or horizontal stripes on the LCD screen. Why is that?
This is a natural effect exhibited when using the Live MOS sensor to reproduce lighting conditions from a noncontinuous light source. It is not a malfunction. Neither the flickering nor the stripes appears on the recorded images.


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Makita P-43468
Sanding Belts - P-43468
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Presenter: Scott Seely Topic: Azure For Architects Location: TechNexus 200 S. Wacker Dr., Suite 1500 Room A/B Chicago, IL 60606 Time: 5:30 - Doors open at 5:00
I just got news that my talk on Office Open XML has been accepted for the Chicago Code Camp. I hear that they will be announcing the full schedule of sessions soon. Be sure to register and join us. As a bonus the guys from .NET Rocks will be there.
Note: Cross posted from Coding The Document.
Formatting tables in a document programmatically can be a very complex task. This is the major reason which we start our document generation projects with templates instead of building components in a document by hand. Borders are on aspect of a table that you may want to fomat. Borders are used to make certain content in a table stand out. If you need to conditionally set and remove borders there is something that you need to be aware of. Even in OOXML you have the concepts of styles, inheriting styles and overriding styles. When Word defines a table it will reference a global style such as "TableGrid". This style will include the borders for the table. Specifically the InsideHorizontalBorder and InsideVerticalBorder define the borders for the cells. These can be overridden by the TableCellBorders collection of a particular cell. Adding a double right border on a cell is as easy as the couple of lines of code below.
wordprocessing.TableCellBorders borders = new wordprocessing.TableCellBorders();
borders.RightBorder = new RightBorder(){Val = BorderValues.Double, Color = "000000", ThemeColor = ThemeColorValues.Text1, Size = (UInt32Value)4U, Space = (UInt32Value)0U };
If I want to revert back to the table's style for cell borders I simply need to remove all children from the TableCellBorders collection. It is like removing a class identifier from a TD tag in HTML. The style in the parent object takes back over. With the knowledge of how the borders work you can take the concept and apply it to other effects of styles.
Tim is a Solutions Architect for PSC Group, LLC. He has been an IT consultant since 1999 specializing in Microsoft technologies. Along with running the Chicago Information Technology Architects Group and speaking on Microsoft and architecture topics he was also contributing author on "The Definitive Guide to the Microsoft Enterprise Library".


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This class is a 8 week session – Saturdays, 12pm to 1pm
Hot Pot Studios Introduction to belly dance class will break it down to the raw basics of isolating areas of the body to create fluid movement to music, belly dance! In the end we will build a combination, or short choreography, based off of the workout. Utilizing Sigil Style teaching format, this belly dance class will focus on the breakdown, drills, and a small combination to pull it all together. We will sweat, we will laugh and we will dance.
Wear something you can move and be comfortable in. We will dance the whole hour, so be prepared to sweat. Common gear is yoga pants, tank tops or sports bras. For your feet: barefoot, socks or dance shoes. Hot Pot has a hard wood floor, so no street shoes please.
Parking on the street in Midtown Sacramento is free after 6:00 pm. There are also garages within walking distance of the studio. You do not want to park in the lot behind the studio, as this is private parking and you will be towed.
If you have any other questions, feel free to contact us.


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Personalized Pink Leather Dog Collar with collar mounted nameplate.
Choose the neck size that matches the circumference measurement around your dogs neck where a collar is normally worn.
Personalizing your Collar with the Pet Name
Personalizing the Collar Mounted Nameplate
Custom made dog collar is available in two widths
View: How to measure your dog's neck size page
Our Leather Dog Collars are made from veg tanned tooling leather . This leather is the same leather used for horse tack, belts, and gun holsters.
The leather is dressed very much in the same way as horse saddles and tack. This helps the leather collar to be durable in weather conditions.
We use nickel plated steel hardware and steel rivets to assemble the collars.
Dog collars this size come with a brass owner ID name plate.
We personalize this collar with your pet's name.
Other available colors and sizes are available at our site's homepage under the menus for Personalized Leather Dog collars
More information:
We also make personalized leather dog leashes with your pet name that can match this collar.
Leather Collars and Leashes are sold separately.
All of our products are handmade upon your order.
We make leather dog collars for the US and Canada and worldwide as long as English Language print for pet name and English Language print for the attached collar mounted brass name plate tag is desired.
Personalizing the Collar Mounted Nameplate:
The Above Photo is a sample of a collar mounted brass tag on a tan 1 1/2 inch wide collar.
This may be different from the collar in this listing.
The Brass ID nameplate has your "contact phone number" stamped into it and we can also stamp your pet owner name into the plate.
We suggest line one on the nameplate to be the pet owner name and line 2 to be your contact phone number. This is the best information a nameplate can have on it in the event your pet becomes lost.
Line one: Owner Name 15 characters or spaces Max
Line two: Contact Phone Number 15 characters or spaces Max
Each line will hold 15 characters or spaces for the size of the tag we use.
Personalizing your Collar with the Pet Name:
The Dog Collar with Name page has information about embossing Pet Names into leather.
The options for this collar are below.
We normally emboss 1 inch wide dog collars with a set of 3/4 inch scale capital letters of the english alphabet.
3/4 inch scale lettering options
Letters are { A,B,C,D,E,F,G,H,I,J,K,L,M,N,O,P,Q,R,S,T,U,V,W,X,Y,Z }
And we can do punctuation marks, such as commas, periods, and dashes.
One question we are asked often is about the number of characters that will fit onto the collar.
With 3/4 inch print size we can fit the following number of characters on the following collars based on the neck size measurement.
An 16 inch collar will hold a maximum of 9 letter characters or blank spaces in 3/4 inch scale size.
An 18 inch collar will hold a maximum of 11 letter characters or blank spaces in 3/4 inch scale size.
A 20 inch collar will hold a maximum of 13 letter characters or blank spaces in 3/4 inch scale size.
A 22 inch collar will hold a maximum of 15 letter characters or blank spaces in 3/4 inch scale size.
A 24 inch collar will hold a maximum of 17 letter characters or blank spaces in 3/4 inch scale size.
If the name is longer than the above, we can reduce the size of the print to make it fit the space. The above list is for the same size print as in the photo.
Custom made dog collar is available in two widths
All of our collars are custom made to your order. The collar in this listing can be made in your choice of two collar widths.
The standard size collar width is 1 inch wide collar with 3/4 inch scale size lettering. (Long pet names are embossed in 1/2 inch scale lettering)
The optional size collar width is 3/4 inch wide collar with 1/2 inch scale lettering.
Please choose the collar width when ordering.


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Newly Vegetarian!
Hello! I just recently decided to make the switch from omnivorism to becoming a vegetarian! My family is full of meat-eaters though and I was wondering if anyone had any tips/recipes/advice on things that will make the transition a little easier? ANY advice is welcome! :)
Thank you!
Hello! Here are a couple things to get to know :) Seitan (unless your Gluten Free), Tofu, Tempeh, Nutirtional yeast, Quinoa, Agar, and Ener-G Egg Replacer (or any other brand). If you already know these things..... well then I dk how to help :) Oh also cooking is very different. Get books and prepare for some trial and error. But in the end if you stick to it you will be overly satisfied :) hope it helps - Alex
Try some recipes on this site,there's very good recipes.I would make meals that are familiar that can easily be converted to vegetarian.they have vegetarian replacements for meat,cheese,mayo,salad dressings,eggs,ice cream,yogurt,pudding,etc...I would also do some more research on vitamins,if you haven't already,because you need to find out what may be missing in the diet.
Any time! I had no idea what I was doing when I first made the change so I totally understand :) anything else just ask and I'll try to help! - alex


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- 2 Large Ripe Tomatoes (mine were from Freida's garden and were AMAZING! Thanks Freida!)
- 1 clove of garlic, peeled and coarsely chopped
- Balsamic Vinegar (approx 1 Tbs)
- Olive oil (approx 1/2 Tbs)
- Freshly ground black pepper (dash)
- Shredded Mozzarella Cheese (1/8 cup)
- Fresh Basil or Dried Basil (whatever you have) approx 1-2 tsp
- (1) Block of Cream Cheese softened
1 Spread softened block of cream cheese in a round pie plate evenly.
2 Dice tomatoes and place in small mixing bowl. Add balsamic vinegar, olive oil, chopped garlic, black pepper and basil. Mix well and let sit 10-15 minutes and "marinate". (Taste mixture to make sure it has a nice flavor--add more of ingredients if need be)
3 Spoon mixture over cream cheese evenly. (I tried not to reserve some of the juice so the dip wouldn't be too runny.)
Serve with wheat thins, bagel chips or ritz crackers!


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Covering an area of 23,000 square kilometres and home to 830,000 people, the small east African nation of Djibouti has been a member of FIFA since 1994. It is little surprise then that the national team finds itself in the lower reaches of the FIFA/Coca-Cola World Ranking, down in 202nd place to be exact.
Yet despite their modest global standing, Djibouti do not lack ambition, as Souleiman Hassan Waberi, the newly elected president of the country's football association (the FDF), told FIFA.com on his visit to Zurich.
Elected to the post on 10 November last year, Waberi was accompanied at FIFA headquarters by FDF Secretary General Hassan Mohamed Kamil and the Secretary of State for Youth and Sport Dr Djama Elmi Okie.
"Our priority is the development of grassroots football," said Waberi. "We have just signed an agreement with the country's Ministry of Education and we will shortly be organising mixed inter-school tournaments. The aim is to have a competitive U-17 side in place by 2014, which is when we'll also be hosting an U-17 CECAFA tournament."
Though the task is a sizeable one, the objectives are clear: "Another goal is the development of women's football, which isn't very strong in our country. We'll be setting up a championship and staging festivals."
The FDF chief added: "We are also looking to nurture our own local men's league, give our managers the training they need, develop futsal and beach soccer – a sport that's ideally suited to our country – and improve our infrastructures in general. With the support of FIFA and the authorities, we are working hand in hand for the development of the game."
Djibouti is set to launch its fourth Goal Project (a futsal court) and will also be applying for a fifth (an artificial pitch), which will be subject to the approval of the Development Committee. In a country as dry and arid as Djibouti, where playing on grass all year round is not feasible, artificial pitches are essential.
The east African nation will also reap the benefits of the PERFORMANCE programme, which will improve the day-to-day running of the FDF.
"We need resources for that to happen and that's why FIFA's support is necessary," explained Waberi. "They're not only helping us with the artificial pitches, but with the technical and financial side of things too. Our football association relies heavily on that support."
Also in need of some solid backing are the national team. Le Riverains de la Mer Rouge, The Shoremen of the Red Sea, as they are known, have not played since December 2011 and have lost their last five matches. Ever the optimist, Waberi points to the success of other African minnows as an example for them to follow, such as Cape Verde Islands, who defied the odds in qualifying for the upcoming CAF Africa Cup of Nations:
"We don't have the resources, and that's why we're making a start with grassroots football, so we can organise ourselves properly and not cut corners. I'm convinced that this way we'll have an U-17 side that will be able to compete within the space of three year."
Rounding off, Waberi pointed to his own career to illustrate just how successful a bottom-up strategy can be: "I started out on the lowest rung of the ladder, as a referee. Then I worked my way up to committee chairman, treasurer and assistant secretary general until I finally became the president of the FDF. I firmly believe that to get to the top you have to start at the bottom."


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Waterford wins first state title in girls' soccer
Middletown - Never did they imagine they'd be celebrating the first state championship in the program's 37-year history when the season began.
Not when Waterford had to replace eight players, rely heavily on underclassmen and then fight through their share of adversity during the regular season.
Yet the jubilant Lancers stood on the Middletown High School turf celebrating a Class M state girls' soccer title on Saturday after beating Haddam-Killingworth, 1-0, in an intensely competitive and physical game.
"We lost eight seniors and nobody thought we were even going to be decent at all," sophomore Claire Hurley said. "To come out and make it to the state finals and then to win, that was definitely super unexpected and I don't think anybody thought we could do that."
The third-seeded Lancers added to their degree of difficulty by playing without senior standout Melina Spanos and Hurley, two starters dealing with injuries, for long stretches. They won despite spending nearly the entire second half in their own end fending off a persistent attack and being outshot 16-5 overall.
"They came ready to win a championship," Waterford coach Rob Brule said of Haddam-Killingworth. "For us, we needed to play the best game of our life defensively. They have weapons up front and weapons in the midfield. We just really needed to play organized and we had to play smart, and I think we did that today.
"… (H-K) had some great opportunities and the soccer gods were on our side."
Spanos, who injured her jaw in a 2-1 win over Tolland in Tuesday's semifinal, played sparingly and sat out all but a few minutes of the second half. Hurley injured her right thigh late in the first half and played only briefly in the second half but not before scoring the game-winning goal on a beautiful blast from about 25 yards out.
The play started harmlessly enough as Hurley collected the ball in the midfield. She quickly turned and sent a rocket over the head of goalie Tevi Ferguson. She had previously missed two other opportunities from long range, including banging one off the crossbar.
"Oh my goodness, what just happened?" Hurley said of her reaction at the time. "It was awesome."
The goal came with two minutes, 23 seconds remaining in the first half.
Hurley has thrived in the championship game spotlight before, earning most valuable players honors last spring when Waterford captured the Class M state softball championship.
"That's what Claire has done in her short career," Brule said. "She's a great player. Great players have great moments on the greatest stage."
The resilient Lancers spent the second half under siege, as the fifth-seeded Cougars pressed for the tying goal. Haddam-Killingworth's Jennifer Martin was a dangerous scoring threat almost every time she touched the ball. Martin beat a charging goalie Jordan Kovacs to a ball but slid it past the outside of the left post midway though the second half.
The Cougars (13-5-2) fired off 10 shots in the second half but most attempts either went wide or high over the goal.
Kovacs (five saves), a freshman, came up big with just over nine minutes remaining, diving to smother Molly Madore's close range shot. Under heavy and constant pressure, junior Sally Scarpa, junior Summer Wyatt, senior Genaya Loftis and senior Hannah Swanson played tough defense and refused to give in.
"We had everything to give and nothing to lose," said Scarpa, who cried tears of joy after the game. "We had to grind it out and win it, because we weren't leaving without winning."
Waterford (17-3-2) somehow survived the tense final minutes.
"I knew Middlesex Hospital is close by so if I had the heart attack I'd be there pretty quick," Brule said. "I've been through this all year. The three losses that we had have been by one goal and we've been up, so I was a bit nervous because they're a talented team."
Only the second coach in the team's history, Brule has poured his heart into the program during his 20 years in charge.
He talked fondly about his journey and all his players. He credited the Waterford Soccer Club for helping develop players.
"We had to build it from the ground up and we did that the right way," Brule said.
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The Connecticut Interscholastic Athletic Conference announced Wednesday that will proceed with its original plan to hold a condensed, regionalized fall sports season beginning Sept. 24.
CIAC football committee recommends moving season to spring of 2021
The Connecticut Interscholastic Athletic Conference football committee — a 10-person group comprised of principals, athletic directors, coaches, and advisors — voted Monday to recommend moving its sport to the spring of 2021.
Evina Westbrook, named captain, feels like UConn is where she's supposed to be
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Arrest more evidence of a state GOP in decline, leadership lacking


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Friday, July 7, 2017
June Winner Announced!
Congratulations Jinny Newlin, you are our June winner! Please contact us via email at firstname.lastname@example.com to claim your prize. You have 7 days to do so or it will be forfeited. Thanks for being a great follower here at LGS
Posted by Brenshevia at 1:32 PM
Labels: winner 2017
2 comments :
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Recently Martin Klapatek created the nice Firefox add-on Firemuk which stores download meta-data in Nepomuk. Vishesh Handa wrote the corresponding Nepomuk stub which does the actual work of pushing the data to Nepomuk. This is really great. Of course I already installed it.
But it made me think of some obviously forgotten Nepomuk API which I introduced in August of 2010: Nepomuk::Utils::createCopyEvent. It essentially does the exact same thing as Vishesh's NADM, only as a library call.
Konqueror had support for download meta-data for a while now. If you want to know more about it read my blog entry Remembering downloads via Nepomuk.
Finally – for sentimental reasons – an image…


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Saturday, March 24, 2012
The Hidden People
4 comments:
- A Spooky Soiree said...
this photo is absolutely horrifying.
- March 24, 2012 at 8:12 PM
- Sam Kadi said...
Rot, this is a weird conincidence. Today I was listening to a podcast that I love called Ground Zero Live with Clyde Lewis, whom I found on itunes while searching for an Art Bell substitute. Holy crap, the guy is awesome, I love his show, he's out of Portland and has an actual radio show with great guests, good topics and he is pretty knowledgeable on all things occult/bizarre/conspiracies, etc etc. Anyways, the show I was listening to was an older one and it was about the origins of Christmas and how Krampus and gnomes/elves, etc are a part of the original Nordic origins of Christmas. He was talking about this video. Of course the idea of gnomes being alive are ridiculous, but he has some cool takes on things. I also listened to his show (several hours today) while working in my garden no less, and one was about the Mothman, the Grinning man, the tall man,
Indrid Cold, and how the archetype is a subconscious entity in all of us. Its pretty fascinating, I would highly suggest his podcast to anyone, great for listening while gardening or prop building (which I am about to do, going to build a gargoyle from paper mache) or whatever. Check him out on itunes.
SamKadi, aka GrimmleeFiendish, of the Haunt without a name yet. Thinking of Blood Moon Manor, Forsaken Manor or Haddonfield Manor, or something like that. Thanks again for your site, I always check in and dig your stuff.
Happy Saturday.
- March 24, 2012 at 10:55 PM
- Rot said...
There's a video if you click on the photo ; )
Thanks for the recommendation. I'll definitely check that out. That's a weird coincidence. I was reading an interview with the artist who does Grickle comics and he mentioned that his Hidden People gnomes were inspired by Nordic folklore and "those real gnome videos on youtube." So I went looking and found this.
Thanks for the post.
- March 25, 2012 at 6:38 AM
- Rot said...
- March 25, 2012 at 6:46 AM


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|In stock:
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Our best ever taste Classics Medium Roast Instant Coffee is the best it's ever been. We've roasted the coffee beans a little longer than before, giving a smooth full-bodied taste with delicious hints of caramel sweetness.
For a cup that's easy to make but full of real coffee bean flavour, we've created Classics Medium Roast Instant Coffee. A high quality, delicious instant coffee made from a unique blend of Arabica and Robusta beans from all 26 of our coffee growing partners around the world.
A real labour of love - this classic instant coffee has been specially created to give you the perfect boost at any time of day.
Cafedirect Classic Instant Coffee is the perfect coffee for enjoying at any time of the day. Whether you're relaxing at home or enjoying a refreshing break at work Cafedirect Classic Instant Coffee is the cup for you. These large 500g tins of Cafedirect Classic Instant Coffee are ideal for professional use in hotels, restaurants, cafes or in the office.