I want to help photographers in their pursuit of better documentary and portrait photography. I use the Olympus OM-D camera system and talk specifically about the configuration and use of those cameras in my work. This channel is not about reviews but more about user experience, tutorials, tips and tricks on how to make better images whether for clients or the people you love. You can find me online at www.familyphotolife.com or my wedding work at www.josephmark.com lastly on social @josephmarkphoto
FTC Disclosure: No sponsors have paid for inclusion in this video. I am an Olympus Educator. Olympus America Inc. may have provided various pieces of gear that were used in this video however all words and opinions are my own and I was not asked to produce this video.
Hi Everyone ! Please I need help! I turned off live boost in manual mode but still see picture in dark environment. I need true exposer on my LCD screen....
@@JosephEllisPhotographer I did it but still can see my preview bright in dark condition environment... it's not super bright but anyway ... what else it can be ?...
The " performance boost" feature and the Eye-tracking is a big joke, as a new owner of GFX100s, it's really a shocking experience for me how horrible the AF/tracking capabilities this camera has to offer, I am not even comparing with my Z9 but my already outdated A7RV. it feels it 's almost as good as my 7 year old A7R III. the Image it produces is fantastic thought, that's why I own one, but boy the AF is just nothing but frustration.
So you called the other video BS and Canadian Goose Poop. You need to watch it again since they clearly said the difference is obvious if anyone zooms in. You also REALLY need to note that with the large prints they could not be differentiated between, which says it all! Yes the ability to crop heavily is a bonus, but if you are shooting landscapes then focus stacking is likely. I hope your thought is better now.
This was my youthful setup in the analogue times. Nikon SLR body with a 24mm and 50mm lens and a zoom 75-150mm. Wider and longer I would have only found more exciting. But my taste has changed with the years. To the moderate. Now my favorite focal lengths are MFT 20mm and 30mm (in FF terms 40mm and 60mm). They offer that ever so slightly less boring view on the world than the _nifty fifty_ 25mm, while still keeping the natural perspective and distortions to a minimum. I was frustrated by the _nifty fifty_ as a youngster as I couldn't afford other, more expensive lenses. Now I can, and any time when using a zoom I accidentally end up at 25mm I kind of notice it. Of course every focal length has its place. But what is a _nifty fifty_ (25mm in MFT) good for? It's too wide for portraits, the faces get distorted if you fill the frame. And it's too narrow to include proper environment around people, like the 17mm and the 20mm can nicely do. --But why have you stopped posting videos, Joe? It's been three years now and you were one of my favorite educator-reviewers! We are concerned...
I would have your son standing and done vertical portraita and stopped down to get the sky-scrapers as part of the shot, I did this at battery park with Statue of Liberty, friend was sitting/lying on the grass and statue was in the background, the compression made statue big enough to pull of the shot, did the same with Eiffel Tower...Use f2.5-f3 with the 75mm, also try it on full body portraits, outside you have the space...
The front button (depth of field preview) is best to map that to “2-X Digital Zoom.” Mostly because it’s so easily to hit accidentally and you wouldn’t want to change your WB, or mess with exposure settings. The 2-X digital you will know right away before taking shots.
There is little or no point in going to a UHS II card unless you want to have the flashiest or fastest card. I got one because I thought I'd like one, not because I needed to have one. Buy good quality cards and look at the transfer speed (write not read) when judging value.
I'm new to the Olympus system. On the EM1 mark II, I can't seem to find a way to turn on High speed sync. I have an AD200pro and AD600 which I have been using with my Canon R6II and the high speed sync works perfectly but I had to enable it within the camera. But I cannot see a similar option for EM1 mark II. Do you know how I can enable it based on your experience using the Olympus/ OM system?
so to summarize, if you want to hang your cat photo in an art gallery or just one picture of your kid over your couch (who has space in their house for more than one 60x40) get yourself a medium format camera that costs a mortgage payment instead of Canon 5Dc or A7S which are actually a pleasure to use! The test wasn't honest. We don't need 60x40. Those who decide to print, do it at much more reasonable sizes. Not fair to crop into photo , just to print a section when in fact you should've used different focal range in the first place.
Great? how to make the update, and what is the firmware #????????????????????????????????????????????????????????????????????????????????????????????????????????????
I used to have both but sold all my olympus stuff to chase bigger sensors. I've returned to the m4/3 system with a used G9 and a new OM 1 on the way. I'll likely get the 12-40 at some point because I have longer focal lengths covered already
Great at explaining the process. I am taking my notes with me to shoot family fireworks so I have more confidentce with my OM-1 Mark III and added Live Composite to My Favorites menu.
I want to increase the brightness of LCD in Menu Mode. My brightness icon is grayed out. But, I still want to see the actual exposure in the VF and LCD.
I have yet to see a large landscape photo print where people don’t walk right up to it and look at the detail. It’s just so much fun. Film on 35mm apparently gives around 30mpx or so rez. So I think 24mpx and up is plenty. I have shots on 10mpx cameras where I superrezzed several shots to make a 40mpx shot and that was printed 2 storeys tall - and you could see details like the nuts in the structure on the image as you walked next to it going up the stairs. I do think though that a large sensor is key for detail when going up in rez. An old 50mpx MF sensor ( even though it is not nearly a real 4x6) still outresolves a FF 50mpx sensor when you look at a large print - because the demand on the lens is less so it is easier to get details
The 75 is rendering the portrait more dramatic and in focus than the 45. It is pulling the viewer closer to the main attraction in the picture by the compression rendered by the lens. I have both and love using the 1,2 in low light, whereas the 75 gives me more freedom as to giving the subject more freedom to forget that the camera is there. Thank you so much for sharing your knowledge.
I bought this lens for my B-Day this year, and yesterday I finally got to use it for a family party, specifically portraits. I was so happy with the results that I actually wanted to watch more reviews just to share in the joys others were having. This lens is so very sharp and versatile! Man-o-man, what an incredible lens!
What's not clear to me is when the couple were photographed. Were the couple part of the initial composite "background" exposure or were they added during the "light painting" stages?
Couldn't leave a mint 75mm for AUD$400...bargain! Will use the 12-40 for my other needs, but could be tempted with the 25/1.2 pro or PanLeica 25/1.4 ii
Glad I found your channel. Though I'll admit, I'm still a bit confused by a few things. Forgive the newbie. I have never really learned to use flash on my E-M5 III and I'm now using it (TTL) from time to time at events and another TTL underwater strobe when I dive. My results are utterly random and wild - even worse above water! I really appreciate your great depth on flash direction and bounce. But there are some much more basic things us newbies need to understand first: 1. Exposure compensation BASICS: When I choose iso, shutter and aperture for the main camera exposure, this will have some effect on the photo even when I use flash. So how does a TTL flash interpret them? Early in your video it sounded like the camera does its thing and the flash simply adds a bunch of light (though I thought the whole point of TTL was that the flash would add exactly enough light to achieve the desired exp. setting specified in camera). You say I should aim for a fairly dark camera exposure and let the flash bring the exposure up to a brighter level. But how does the flash know how much it should add? I assume this where flash compensation comes in? (as you showed very briefly) 2. I have flash exposure compensation in camera, but also on the flash. How do they interact? If the flash comp setting is low in camera, but high on the flash or vice versa, what will the result be? An even more basic TTL Flash tut would be superb for newbies like me, expecially since you're dealing with the OM-D menu like me. Thanks!!
Great video as always. I just got the Godox V860 O for my OMD EM1 Mark III. When I use the flash straight up, the pictures looks still dark, as if my camera didn't take the picture with the flash. What is the proper setting on my flash and in my camera? It seems like the shutter speed isn't synchronized with the flash. Thanks.
If the flash works properly when pointed forward then my guess would be that the ceilings you're trying to bounce off of are either a darker color or tall. If they're a darker color then you have to add flash exposure compensation and it may still give you a color cast you'll have to correct in raw processing. If they're tall and the light has to travel further to get to your subject then you'll also add flash exposure comp. On a Godox that's on the flash screen marked +/-. Keep in mind that straight up isn't usually my favorite, I'd rather have some coming from the side so I usually point up and 45ish degrees right or left into a wall/ceiling combo.
Enormously functional advice, Joe. I frequently warn my friends that I am shooting video. The reaction is hilarious! However, for some time I have wanted to get the hang of the video settings. Your preference for flat focus is very interesting. And of course you can see it in this RU-vid. South African trailmaster his name I forget does get advice on the Boqua shot for 4 shooting himself and individuals.
My primary camera is Pentax K3 and the most used lens is 18-135/3.5-5.6 which is attached most of the time on camera although I have other 20+ lenses that I also use, but only that one is the base. I wanted something similar for my M4/3. I have 14-42/3.5-5.6, 40-150/4-5.6, 75-300, 25/1.4, 45/1.8 etc.. I was looking at 14-150 as a all-in one travell lens, but most reviews pointed out that optically it is nothing special. And then I found nice deal on 12-100/4. Bought it. Well.. it is larger than many APS-C lenses, but once I saw how good it is even wide open on the image edges.. damn. And bokeh is also pleasing, AF is fast, stabilization works well.. only the physical size and weight is a little bit large for M4/3. My cameras are EM5III and EPL-6. But image output is brutal. I would like to have similar 16-135/4 for my APS-C :D
Thanks for the video. Perhaps it’s also worth mentioning that those that consider to have both the 12-40mm F/2.8 PRO and the 40-150mm F/2.8 PRO iso the “Two-In-One” 12-100mm F/4.0 IS PRO is the compatibility of the 40-150mm F/2.8 PRO with both the MC-14 and MC-20 Teleconverters. That could extend the reach of the 40-150mm to 80-300mm. I choose to buy both lenses in the used lenses market, together with the MC-14. Set me back €1.500. A single 12-100mm F/4.0 would cost me €800. With the MC-14 the range of my MC-14/40-150mm is up to 210mm. Just over double the range of the 12-100mm lens (but no IS).
Something wrong with your 45mm f1.8 shot... i dont know what it is... looks like it didnt get focus on his face. Ive shot portraits with the 45mm f1.8 @f1.8 and I was getting very sharp results.
Thank you! Just got the EM1 III and this was great. But I have a question, is there away to set the power function to a button as opposed to the switch on the top left?
Loved this video as I shoot with a Nikon D850 but thinking about the GFX 50sII or the GFX 100s. My questions are, 47mp (Nikon) vs. 50mp are virtually the same but with a bigger sensor, wouldn't that be a big queasily improvement? And in comparing the Nikon with the 100mp obviously twice the resolution but now add to that a bigger sensor. Does it make sense to go from the Nikon to the 50mp or would that be insignificant a difference vs. going the the 100mp? The other aspect is the processing power needed for the larger files?
Wouldn't it make sense to just buy a second FL-700WR instead of the FC-WR Flash Commander? Ignoring the size and weight of course. Or would the on-camera flash also fire in every case?
