2Wire E-100 Owner's Manual
Sports and Fast-paced
Event Photography with the
Olympus America, Inc.
Two Corporate Drive
Melville, N.Y. 11747-3157
Copyright 2000 Olympus America Inc. are registered trade marks of Olympus Inc.
This technology paper is provided to illustrate the technical advances that enable fastpaced action and event photography with the Olympus’ CAMEDIA E-100 ZOOM RS
and to demonstrate how these technical advances can benefit professional and serious
amateur digital photographers.
The CAMEDIA E-100 ZOOM RS SLR (single lens reflex) is specifically targeted by
Olympus to professionals and serious amateur digital photographers and offers “best of
class” features such as a 10x aspherical optical zoom lens, (equivalent to a 380mm
lens), a innovative pre-capture image caching mode and 15 frames per second burst
capability. It also features image stabilization to steady the lens and a precision electronic viewfinder.
Up until now, most digital camera manufacturers have tried to produce digital cameras
that in many ways mimic traditional film cameras, especially with pro or prosumer digital
cameras. The introduction of the CAMEDIA E-100 ZOOM RS represents a unique circumstance in which Olympus has purposely pushed the technology envelope to provide
features that specifically address the critical needs of sports and fast-paced event digital
photographers, an industry first.
The E-100 ZOOM RS includes a bevy of “digital-specific” features that go well beyond
the capabilities of traditional professional quality film cameras. After all, why go digital if
you aren’t allowed to utilize the efficiencies of digital processes to their fullest extent?
We invite you to read further about the uniquely “digital-specific” features of the CAMEDIA
E-100 ZOOM RS SLR and how it allows fast-paced event and sports photography to be
even better.
John Knaur
Olympus America, Inc.
For More Information about the CAMEDIA E-100 ZOOM RS SLR go to:
For More Example Photographs for the CAMEDIA E-100 ZOOM RS go to:
Digital Camera Overview
The worldwide adoption of digital photography in the past
and color science, all working in tandem to provide users
four years has simply been astounding and dwarfs the adop-
sharper, more accurate images.
tion growth rate of other entrenched devices such as inkjet
printers and scanners. By 2002, consumer digital cameras
Olympus again led the third plateau of adoption with the intro-
will surpass flatbed scanners in yearly adoption and this will
duction of 1.3 mega-pixel resolution in a consumer digital
have taken just 7 years in comparison to 12 years for flatbed
camera. This resolution would later become the industry
scanners to reach this equivalent adoption rate. The world-
benchmark for representing “photo-quality”. Photo-quality
wide forecast now puts consumer digital camera shipments
images are simply the equivalent in image quality to a con-
at over 50 million units by 2005. It took PC’s over 14 years to
sumer film camera when output to a 4” x 6” print on photo-
reach this level of penetration. By comparison, digital cam-
grade paper. But resolution alone cannot provide photo-qual-
eras will reach this same penetration in 9 years.
ity images. It is the resolution provided by the CCD sensor in
tandem to the camera’s internal opto-electronics and entire
In 1999 alone, worldwide consumer digital camera shipments,
optical path.
excluding toy cameras exceeded 5.8 million units and represented over $2.9 billion in street valued revenue. In the U.S.,
The Move to Digital Specific Attributes
unit shipments exceeded 2.5 million representing over $1.3
billion in street valued revenue with a projected five-year compound average growth rate, (CAGR) out to 2005 of 39.8%. (All
sources: Imerge Consulting Group - 2000)
Currently the state of digital camera development is entering
a new era driven by higher resolutions and advanced featuresets which move digital cameras beyond the capabilities of
film cameras by using “digital specific” attributes. In-fact, from
Plateaus of Adoption
1995, (the first year consumer digital cameras were introduced) until present, digital camera resolutions have in-
Unit shipments and revenue only tell part of the dynamic story
of digital cameras. The adoption of digital cameras has occurred in stages or plateaus, driven entirely upon technical
advances. The first plateau occurred with the introduction of a
viewable color LCD, providing instant gratification to consumers in 1995.
With the second plateau of adoption in 1996, Olympus set
out to move digital cameras away from being just novelty
products for viewing images, to products people could actually benefit from, by providing the industry’s most regarded
“optical path”. The optical path is a combination of lens quality, internal opto-electronics, image processing (algorithms),
creased at a phenomenal average rate of 45.8%.
As digital cameras move well above the “photo-quality” bench-
cameras that are produced to meet the specific needs of
mark, resolutions are a driving attribute but not the principal
photographers using “digital specific” processes. One of
driver for adoption. Rather it is these aforementioned “digital
these categories among professional and prosumers is ac-
specific” attributes that will compel consumers and profes-
tion, sports and fast-paced event photography. As you will
sionals to purchase digital cameras over film cameras.
see by reading further, the CAMEDIA E-100 ZOOM RS and its
unique capabilities specifically address the needs of this
Olympus again is among the first to recognize this shift and
category of photographers like no other digital camera on the
has begun a new phase of design and development of digital
market, at any price point.
New 10x Optical Zoom Lens
with Image Stabilization
The CAMEDIA E-100 ZOOM RS’s optical lens and image
create compactions of foreground to background and con-
stabilization is designed to be digitally specific for action,
trol selective depth-of-field that would be otherwise impos-
sports and fast-paced event photography. The new 10x
sible with shorter focal length lenses.
optical zoom, which is a 6.4-70mm in digital lens terms,
(equivalent to 35mm-380mm in traditional 35mm film pho-
Walter Urie, a southern California commercial photogra-
tography) is one of the industry’s first 10x zoom lens in an
pher for 20 years recently used the CAMEDIA E-100
affordably priced digital camera. The CAMEDIA E-100 ZOOM
ZOOM RS for a series of on-location shoots in Moab, Utah.
RS’s back-saving weight is just over 1-1/3 lb. compared to
Walter specializes in annual report and advertising pho-
a professional film camera and lens assembly of equiva-
tography on-location and has used a number of digital and
lent focal length weighing in at about 25 lb.
film cameras for his work. Walter’s award winning images
have been featured in Communications Arts Magazine and
Expanded Focal Length Means More
Creativity, Greater Control
he currently teaches photography at Orange Coast College. He has worked with Mercedes Benz, Isuzu, 3Com
and many others.
This extension of the focal length out to an equivalent 380mm
allows digital photographers to compose images that were
impossible in the past. In many circumstances, a sports
photographer cannot be right next to the subject matter.
This new expanded focal length lens allows the photographer to pull the subject into range, shoot tighter images,
Walter Urie talks about his experiences with the CAMEDIA
E-100 ZOOM RS on location, “This camera and lens combination allowed me to compose images that would otherwise have been impossible. I’ve never used a still camera
with this kind of zoom range. It was incredibly useful. It
Pre-capture Mode
zoomed very smoothly and fluidly. One of the difficulties I’ve
The pre-capture ability on the CAMEDIA E-100 ZOOM RS is
encountered when using other digital cameras is the short
exclusively an Olympus technology and is one attribute that
focal length zoom lens allows you to have tremendous
truly sets this digital camera apart from any others. Like many
depth-of-field. Conversely, if you want or need a selective
other features, it was designed with action, sports and fast-
depth-of-field, it’s difficult to get that with other digital cam-
paced event photography in mind.
eras. With this lens’ ability to zoom out so far, selective
focusing becomes easy.”
Previous Work-around
Image Stabilization - Sharper Images at
Slower Shutter Speeds
An inherent attribute of any digital camera is the slight time
lag from when the shutter button is depressed and the time
the image is actually captured. One method digital photogra-
Walter continues, “another situation I had was at a flat-
phers have used to counter this is to try and anticipate when
track motorcycle race at dusk. Light levels were low and I
the precise moment of capture will occur and start depress-
was forced to shoot without a tripod. I was able to handhold
ing the shutter button well before the moment of intended
the camera at full zoom with the on-board image stabiliza-
capture. This has been a hit-and-miss proposition for nearly
tion while panning and got sharp, crisp images. This would
all photographers.
have been impossible to do with a 35mm film camera. The
lens would be far too heavy at this focal length to handhold.
The CAMEDIA E-100 ZOOM RS’s “pre-capture” capabilities
With image stabilization you can shoot at slower shutter
alleviate the need for this clumsy technique and completely
speeds to compensate for low light and still produce a
removes the anxiety of missing “the critical moment” for digi-
sharp image.”
tal photographers.
Caching to a 9 Mb Buffer
The “pre-capture” process begins by holding down the shutter button halfway, (see the diagram entitled CAMEDIA E-100
Panning in low light
using the CAMEDIA
E-100 ZOOM RS’s
image stabalization
© 2000 Walter Urie
ZOOM RS Sequential Image Cache) when you think the criti-
pre-capture and capture altogether. This guarantees that you
cal moment you want to capture is near. Five sequential im-
will not suffer from missed opportunities due to shutter lag
ages are then cached in the on-board 9 Mb buffer, and are
and allows you to capture the precise moment you need.
rolled over as long as the shutter button remains halfway
Walter Urie comments, “going back to the motorcycle races I
shoot with the CAMEDIA E-100 ZOOM RS, I wanted to catch
In the pre-capture mode, the sixth image overwrites the num-
the riders, which were going very, very fast at an exact spot on
ber one image, number seven overwrites the number two
the curve using a panning technique. I was following the ac-
pre-captured image and so-on until the shutter button is ei-
tion and as the riders entered the designated area, I started
ther depressed fully, moving the camera into the sequential
to depress the shutter button halfway down. Out of 100 pans,
“capture” mode or the shutter button is released stopping the
I was able to capture accurately and with precision 95 pans.”
CAMEDIA E-100 ZOOM RS Sequential Image Cache
Button 1/2
Auto focus
After shutter button is 1/2 depressed, pre-capture
operation starts, records data in the memory buffer
and overwrites the oldest images
Button Fully
After shutter button is fully depressed,
image data stored into buffer until the
buffer is full.
Auto focus
Data is read
from buffer and
recorded on
Memory Card
Pre-capture Mode
Total memory allocation
Capture Mode
Image captured instantaneously
Images cached
15 Frames per Second Frame
Rate Capable Capture
Just 5 years ago, if you had a professional film camera that
could provide 7-8 frames per second with a motor drive, you
had a top of the line camera. The CAMEDIA E-100 ZOOM RS
provides more than double that frame rate as part of its digital
specific design attributes. This allows the user to capture subtleties in photo illustration, for example capturing a golf swing.
According to pro shooter Walter Urie, “when you’re photographing action, this camera gives you the opportunity to capture the exact moment I wanted and capture the action every
single time.”
Capturing a golf swing at15
FPS with the CAMEDIA E-100
ZOOM RS © 2000 Walter Urie
The Benefits of the CAMEDIA E-100 ZOOM RS’s
Progressive Scan CCD
Most consumer and professional digital cameras are not
and you want to stop the action with your digital camera with-
designed to be “digital specific” like the CAMEDIA E-100 ZOOM
out causing blurring. Or the situation could be college or pro-
RS is for action and sports event photography. The majority of
fessional football, or your local children’s soccer game. Un-
digital cameras have a maximum shutter speed of 1/500 of
less the action is coming straight to you, the chances that
a second due to their incorporation of an interlaced CCD
blurring will occur when following fast action are great.
sensor. The CAMEDIA E-100 ZOOM RS incorporates a progressive scan CCD with 1/10,000th of a second capability.
Ask any professional NFL football photographer and they will
Why does this matter? An interlaced CCD digital camera has
tell you that they would prefer to shoot at higher shutter speeds
a fast enough shutter speed for most typical applications, but
than 1/500th of a second, light permitting. At 1/500th of a sec-
falls short if you are trying to capture lateral movement in
ond there is a risk that some of their images that show lateral
sports or event photography.
motion will be blurred and unusable.
A progressive scan CCD refers to a very simple and
In summation, cameras with a full frame shutter, such as
intuitive operation of the sensor when all lines are output in
the CAMEDIA E-100 ZOOM RS are designated as “progres-
ascending order. In order to accomplish this progression, a
sive scan” cameras and have the ability to capture moving
digital camera must not have a frame store within the CCD
objects with full horizontal and vertical resolution. This allows
sensor, or have a frame transfer CCD or a full-frame, interline
them to capture at much higher shutter speeds than stan-
transfer CCD.
dard interlaced CCD digital cameras, which can only capture
moving objects with half the vertical resolution (but full
The full-frame interline transfer CCD sensor incorporated in
horizontal resolution).
the CAMEDIA E-100 ZOOM RS with an interlined frame store
has the same resolution as the sensor area. Simpler inter-
The CAMEDIA E-100 ZOOM RS allows the user to capture the
laced cameras with a standard interline transfer CCDs have
fastest action possible without blurring, even shooting 200-
frame stores with only half the vertical resolution.
MPH race cars while panning.
The line scan order is really not the most relevant issue.
Whether a digital camera is able to capture a moving object
with full resolution, is. There is no mechanical shutter in a
CCD sensor and so the term “progressive scan” has been
used instead of the term “full frame shutter”. Let’s concentrate on what this means in an actual shooting situation.
Imagine that you are about to photograph an event where
there are World-class athletes running laterally in front of you
The Importance of Matching Lens to CCD
More than 200 years ago, Newton showed that white light
causes a digital form of chromatic aberration. Film emulsion
was composed of multiple wavelengths, (RGB) which are
layers are designed to read light from an oblique angle and
now called photons. These waves of light pass through a
the fall-off from the lens. Olympus found that in order to get
lens on a camera and are supposed to be “imaged” at the
the best possible images from a digital camera, the light
same point, onto film emulsion for example. When the pho-
coming into a CCD must be straight on.
tons are not imaged properly onto the film plane, chromatic
aberration occurs and is most commonly caused by using
single lens construction. Incorporating two lenses made of
different materials can solve chromatic aberration with film
Elements and Interaction with the CCD
camera lenses. The net effect of chromatic aberration is unintended color artifacts such as halos and wild colors.
Lens Elements
The marriage between lens and CCD is critical to delivering
the best possible images. Post imaging processing can only
do so much to help a poor image. Remember the old axiom,
garbage in - garbage out.
The same holds true for uncorrected lenses made for digital
cameras and the net effect it causes are unwanted artifacts,
noise and a degraded image. Unbeknownst to many in the
industry, digital camera lenses require different construction
than film camera lenses. If a manufacturer, (and some do)
tries to place a lens designed for a film camera onto a digital
camera, the net effect is chromatic aberration and only a small
Lens Elements
portion of the lens will actually throw light onto the CCD. This
gross under-utilization also causes a loss in edge-to-edge
sharpness that could be delivered to the CCD.
The digital camera lens construction of the CAMEDIA E-100
ZOOM RS contains a concave element that forces photons
coming through the lens into a straight-ahead alignment to
the 28 MHz high-speed progressive scan CCD. All CCD sensors are very picky about how light is delivered to them and
they don’t like oblique angles of light hitting them, which
Light - Photons
DualSlot Media Capability
The dual slot media capability on the CAMEDIA E-100 ZOOM RS
is an exclusively unique Olympus feature that allows the user to
simultaneously write to either a 2M, 4M, 8M, 16M, 32M, and 64M
SmartMedia NAND flash card or a Type I or Type II CompactFlash
card. Or, you can opt to use one type of media at a time. This
capability allows the user more flexibility in their choice of flash
media and allows the camera to be “media agnostic”.
Voice Annotation Capability
with QuickTime™
File Capture
Often professional photographers on the move need to have the
ability to quickly jot down a subject’s name or a notation of where
the image was shot for publication. In the “good ol days”, pros had
to carry a notepad and pencil in their breast pockets ready for
taking quick notes of who, what and where. Again, the digitalspecific features allow the user to annotate an image with useful
information. Why have new-world capture technology with oldworld notations.
The CAMEDIA E-100 ZOOM RS solves this problem by allowing
up to 5 seconds of voice annotation per image and saves it as a
QuickTime™ audio file so the user has a digital notation to go
with the image file.
New Accurate Electronic
LCD Viewfinder
Viewfinders on most digital cameras use TTL (through the lens)
viewing and because some digital camera lenses are slightly
over-sized compared to the size of the CCD, give an inaccurate
view of the area that is actually being captured. This misrepresentation on a professional level can mean the difference between
having an acceptable image or not. This is especially true with
since many pros choose to strategically place important elements
of composition on the outer fringes of the image to keep overzealous picture editors from cropping their images too much.
The new EVF (Electronic Viewfinder) on the CAMEDIA E-100 ZOOM
RS represents the area being captured with 100% accuracy since
it is reading directly from the CCD, not through the lens. What you
see really is what you get.
The Criticality of Neutral
Color Management
One of the benefits of pre-selecting a black and white mode
is to let the camera do the work to discard the unnecessary
The CAMEDIA E-100 ZOOM RS’s color management system
color data before saving to the camera’s storage media. Sec-
allows the user to capture with “neutral color” that is truer to
ondly, after-capture converting takes up valuable time, a PC
the intended values of the original subject. The camera’s
and an image editing application, which could mean the dif-
post processing provides advanced algorithms that keeps
ference in a missed deadline. Lastly, wouldn’t it be better to
the image from being too warm on the Kelvin scale or too
check the black and white image in comparison with real life
cool, (3200º K represents tungsten light, 5500º K represents
values while its there in front of you rather than “visioning”
high noon daylight). Often adjusting an image in either direc-
what it should have looked like afterward?
tion causes unwanted noise, which often effects image quality. With Olympus’s Neutral Color Management, you can color
Photographer Walter Urie adds, “I specialize in black and
correct the image in either direction without negatively effect-
white photography and I’m very picky. I was extremely im-
ing the image quality.
pressed in the way this camera translated color to black and
white tonal values.”
Shooting with Color or
Black and White Preset
Previously, digital photojournalists and sports photographers
90º Image Rotation in Playback
haven’t had the option to preset the mode they wished to
Shooting in a vertical format is an absolute necessity for pro-
shoot in, i.e. black and white or RGB color. The E-100 RS
fessional and prosumer photographers. The problem is, most
solves this problem, in-camera. In many cases, digital pho-
digital cameras don’t rotate the images on playback for you to
tographers are forced to shoot in color and later convert im-
see them properly and users are forced to accomplish this
ages to black and white. There are a few reasons why this is
basic task on a PC with image editing software. Not any-
not acceptable to most professionals. First, color images
more! Again, Olympus overcame this problem with a “digital
take up much more storage on the camera’s memory card(s)
specific” feature on the CAMEDIA E-100 ZOOM RS that al-
than black and white images, which could mean the differ-
lows you to rotate your images 90º on playback, so there’s no
ence between having enough storage or not on a shoot.
need to use a PC or editing software.
After reading about all the “digital specific” attributes that this innovative digital camera has to
offer we hope that you now understand their practical applications and benefits for on-location
sports, action and fast-paced event photography. The CAMEDIA E-100 ZOOM RS has many
other attributes not mentioned but the areas where this camera is specifically differentiated
from other digital cameras include the 10x optical zoom lens with image stabilization, precapture modes, 15 frames per second frame rate capture capabilities, the fast progressive
scan CCD, matching lens to CCD for accuracy, the dual slot media capability, the accurate
electronic LCD viewfinder, Olympus’ neutral color management, voice annotation capabilities,
the black and white presets, and 90 degrees of rotation in playback capabilities.
Hopefully you also have an understanding of the positioning of this digital camera in the
marketplace as a whole. To quote professional photographer Walter Urie, “there is no doubt
that this camera was designed specifically for action, sports and events and is even easy
enough for parents to use. It provides all the tools anyone would need for this type of application
and be successful at it. It had everything I needed to be successful in my location photography”.
No digital camera is complete without quality print output. The CAMEDIA E-100 ZOOM RS
is designed to produce professional-quality prints on the new Olympus P-400 dye sublimation
A4 printer. All you do is plug your media card in and you can use the printer’s controls to
crop and print.
Ron Tussy
Principal Imaging Analyst
Imerge Consulting Group LLC
Olympus P-400 dye sublimation A4 printer
<< Specifications of the E-100 SLR <<
Model name
Olympus CAMEDIA E-100 ZOOM RS Digital Camera
Product Type
Digital EVF SLR Camera with 4.5cm/1.8inch color TFT LCD monitor
3V (3.3V) SmartMedia (SSFDC) Card (4M,8M,16M 32M and 64MB)
One 8 MB card including Panorama function is supplied with camera
CompactFlash Type II flash memory. Micro-Drive not recommended
Recording system
Still image ; JPEG (DCF: “Design rule for Camera File system”),
TIFF (non-compress), DPOF support
10 Bit A>D Converter
QuickTime™ JPEG Motion VGA and 1/8 VGA
Number of
4: TIFF 1368 X 1024
storable pictures with
28: SHQ JPEG 1368 X 1024
8MB SmartMedia card
84: HQ JPEG 1368 X 1024
96: SQ1 1280 X 960
68: SQ2 1280 X 960
152: SQ1 1024 X 768
104: SQ2 1024 X 768
328: SQ1 640x480
264: SQ2 640 X 480
16 sec. 30 fps Motion JPEG 640 X480
32 sec. 15 fps Motion JPEG 640 X 480
32sec. 30 fps Motion JPEG 160 X 120
64 sec. 15 fps Motion JPEG 160 X 120
Image pickup element
1/2 inch CCD solid-state images pickup 1.51 Million Pixel (effective 1.4 Megapixel Image)
RGB Progressive Scan : 28MHz (High Speed CCD)
White balance
iESP full-auto TTL,
Preset Manual (Daylight, Cloudy, Florescent and Tungsten)
“One Touch” Manual
Olympus lens 6.8– 70 mm 2.8-3.5, Glass Aspherical Zoom Lens
(Equivalent to 35 - 380 mm lens on 35 mm camera)
Image Stabilized System with 2.7x Digital Super Telephoto
Optional 0.8x B-28 Wide-Angle or 1.7x B-300 Telephoto: [E series lenses can also be used].
Filter Size
49mm (To attach accessory lens an filters) 49>55mm Step up needed for thick filters
Photometric system
Digital-“ESP” Multi-Pattern metering system, Center-weighted Spot meter and,
Exposure control
S-Program mode with Portrait, Landscape, Sports, Night Scene and Custom setup modes
(8 area memorized) multi-spot metering
Programmed auto exposure, Aperture priority, Shutter priority
+/- 2Ev by 1/3EV steps exposure compensation
Auto Bracketing: select-able from 1/3EV, 2/3 EV and 1EV; 3 or 5 images
Aperture priority: Wide ; F2.8 – 8.0, Tele ; 3.8 – 8.0, 1/3EV steps
Shutter priority: 2 - 1/10000 sec. (Electrical CCD and mechanical shutter), 1/3EV steps
Manual exposure: shutter speed, 16 sec. –1/1000 sec.
Auto, user selectable, 100, 200, 400 equivalent ISO
iESP TTL or spot system autofocus (contrast detection system) with focusing illuminator.
Focusing range: 24”/0.6 m–¥ (infinity) wide-angle, 79”/2m–¥ (infinity)
Telephoto: 4.3”/0.1m- 24” wide-angle macro, 79”/1m-79”/2m telephoto macro- stepless
(iESP off in rapid shooting mode.)
Manual focus (manual focus setting by gauge) with focusing range: 24”/0.6 m–¥ (infinity):240 steps
AF Illuminator
Standard mode: 24”/0.6m-10’/3m (Can be turned off)
working range
User selectable on/off controls
EVF (Electronic Viewfinder) SLR viewfinder 100% accurate image view,
(Full Information/Mode AV,SV/Spot/CW/ESP/+/-/AF/Flash/Buffer)
.55” Color LCD EVF (Low Battery Drain)
LCD monitor
4.5cm/1.8inch wider angle color TFT LCD monitor with 113,500 pixels
Flash modes
Built-in Flash : Auto-Flash (low-& back-light), Read-Eye Reducing Flash, Off, Fill-in
(made from Low-temperature poly-silicon), 100% accurate image view
External terminal: Off, Auto, Forced activation
Slow Synchronization (First-Curtain Synchronization effect, Second-Curtain Synchronization effect)
External terminal
5 pin TTL connector for FL-40 or PC sync, Optional Bracket and cable needed
Flash working range
Wide; approx. 30”/0.8 – 18’/5.6m, telephoto; approximately. 8”/0.2 –9’/2.8m ( ISO 100)
Battery charging time
Less than 6 sec. (at normal temperature with new battery) for flash
Sequence mode
SHQ JPEG (1368 X 1024) 15/7.5/5/3 frames per sec. up to 10 frames
HQ JPEG (1368 X 1024) 15/7.5/5/3 frames per sec. up to 16 frames
SQ1/SQ2 (1280 X 960) 15/7.5/5/3 frames per sec. up to 21/7 frames
SQ1/SQ2 JPEG (1024 X 768) 15/7.5/5/3 frames per sec. up to 27/17 frames
SQ1/SQ2 JPEG (640 X 480) 15/7.5/5/3 frames per sec. up to 47/123 frames
less than 1.2 second shot to shot at all times (unlimited quantity)
Begins capturing image before shutter release: User adjustable from 1-5 photos
Cancel Shot Recording
Cancels recording to Memory Card Preparing camera to immediately start shooting.
Selftimer /
12 second delay / 2 sec. after optional remote controller operation
remote controller
E-10 Remote Cable (Bulb won’t work)
Setting memorization
Outer Connector
DC input terminal, Data input/output USB interface (Storage Class)
Audio/Video Output terminal ( NTSC), external flash terminal for FL-40 (5-pinn TTL) or
PC sync with optional cables and bracket.
Operating environment
Operation : 32F/0C – 104F/40C, 30 – 90 % Humidity
Storage : -4F/-20C – 140F/60C, 10 – 90% Humidity
Power Supply
4 x AA Ni-MH batteries and charger included/ 2 x Lithium battery CR-V3 (LB-01);
Optional 7AU-AC adapter / 4 x AA Lithium batteries /Use only high capacity AA Alkaline batteries
(Manganese batteries cannot be used.)
Simultaneous recording onto image data.
Automatic calendar
Up to year 2030
4.25”/10.8cm (W) x 3.25”/8.25cm (H) x 5.6”/14.23cm (D) (excluding projections)
21.8oz/603g (without batteries and SmartMedia Card)
All products indicated by trademark symbols are trademarket and/or registered by their respective companies. Specifications and equiptment
are subject to change without any notice or obligation on the part of the manufacturer.
© 2000 - Olympus America, Inc.
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