Olympus E-500 review

The Olympus E-500 8 megapixel digital SLR is essentially a revamp of the entry-level E-300.

The new model addresses all the shortcomings of the E-300 in a traditional but trim-looking polycarbonate body and adds several features bringing it into line with, and in some cases exceeding, recent offerings from rival makers. For instance, a larger than average 2.5in monitor now embellishes the rear, and Olympus has added sophisticated highlight and shadow-based spot-metering options, to the usual metering choices.

Traditional glass pentaprisms are weighty and pricey, so like many other entry-level models, the E-500 features a series of mirrors to provide an accurate unreversed image in the viewfinder. But, unlike the E-300, the penta-mirror sits directly over the mirror box rather than to one side, providing a less symmetrical-looking (but better balanced) body. It's also more compact, making it similar in size and weight to the Canon EOS 350D. Side-by-side comparisons are irresistible, and the similarities don't end there. The two cameras share many basic features such as extended ISO sensitivity up to 1600 ISO, shutter-speed range of 60secs-1/4000sec (30secs on the EOS 350D), and a raft of scene-based shooting presets in addition to the expected manual and semi-auto exposure modes. Even though they look comparable on paper, the E-500 has more to offer the enthusiast.

Just as some of the capability of the EOS 350D isn't fully realised, the E-500 designers have extended user control through a number of firmware-based options. For instance, ISO settings can be chosen in 0.3EV steps, permitting a choice of, say, ISO 1000 or ISO1250 instead of opting for the maximum ISO1600. This reduces the effects of noise, albeit slight from our tests, while crucially permitting faster shutter speeds than if you'd chosen ISO800. There are other examples too. Spot-metering is in line with semi-pro modes at just 2% of the viewfinder (as opposed to 9% partial metering of the EOS 350D), plus there's the previously mentioned shadow and highlight-based spot metering options. The same high/low key effect can be achieved using exposure compensation, but it's neat nonetheless. Users also have a number of options to fine-tune white balance over the usual presets and custom choices. For example, colour-temperature can be set using degrees-Kelvin and mostly in 100-degree steps for greater flexibility. What's more, colour compensation can be applied to both the auto white balance and the presets.

Usefully, all this can be achieved quickly and with little hassle too, using the control panel that doubles as the monitor. Like the Konica Minolta Dynax 5, the E-500 doesn't have a top plate LCD, but uses the 2.5in screen to display the camera's settings. Each can be selected in turn and adjusted using a thumb pad and dial. Both are within a thumb's reach, although one-handed use isn't really an easy option. It's a great system, though. Alternatively, you can scroll through a plain, and lengthy five-page menu. The large handgrip and comfortable ergonomics are an improvement over the EOS 350D, and an oversized power switch surrounding the shooting dial on the top plate adds to the easy handling.

But, the E-500 isn't without its shortcomings. Raw file capture at roughly 2.5 frames per second is much the same as the E-300 and the burst depth is still restricted to just four frames. That said, continuous file throughput of high-quality Jpegs is now only limited by the write performance of the memory card. Raw and Jpeg capture as well as dual xD and CompactFlash slots provide increased flexibility, although simultaneous writing to both cards for backup isn't possible.