Quite a few people have been posting the photos they’ve taken of moving things (birds, athletes, race cars) using their Olympus E-M1II cameras in what’s called “Pro Capture” mode. Basically, Pro Capture on the E-M1II brings to Olympus what only a handful of cameras have had to date — the ability to buffer in-camera some frames before the photographer presses the shutter button all the way down.
Given the normal delay in human reflexes, this sort of feature allows a photographer to capture a decisive bit of action, even if they mash down on the shutter a bit late. Lacking race cars or even many birds to try this out on, I was lucky to have a rodeo to work with. The bottom line is that Pro Capture worked well in the vast majority of photos I made — but a few frames concern me.
Since I ordered my Olympus E-M1II, I’ve felt the need to buy new SD memory cards as well, just to keep up with the data rates it can produce. But of course, cards’ labeled speeds aren’t necessarily all that accurate (“your mileage may vary,” as car ads used to say), so I took advantage of discounts and gift certificates to pick up one each of four name-brand cards, and tested their read / write speeds. What’s common among them:
32 GB capacity
UHS-II / U-3 ratings
Fastest SDHC card for their brand
For comparison, I also included one card that until recently *was* the fastest memory card I owned. So here are the contenders, in no particular order, with their current price at Amazon (just because Amazon sells all of them, so this keeps pricing somewhat consistent between them):
Lexar Professional 1000x — advertised speed 150 MB/s (read), available at Amazon for $22.48. My “old standby.”
A lot of people are still waiting for their pre-ordered Olympus OM-D E-M1II cameras to arrive — in the meantime, a number of them asked to see some high-ISO photographs to judge the camera’s abilities in the realm of astrophotography. After days of waiting, I finally got clear night skies where I live, so took some shots of the constellation Orion. Please bear in mind that I live in the south Denver metro area, so have to deal with light pollution — here’s the view looking south toward Orion from my house (enough sky glow to silhouette bits of a telephone pole and two trees):
For the above image, the EXIF is E-M1II, 12-40mm Pro lens @ 17mm, f/5.6, ISO 1600, 8.0 seconds. This is a SOOC image, by the way — all I’ve done to it is RAW conversion and scaling (to fit my blog’s template) in Lightroom.
But I didn’t only take this one image — I took a series of them, all unguided (i.e., on a still tripod): Continue reading →
In our neck of the woods, we’ve had cloudy night skies recently (at least, since my E-M1II arrived). So I’ve lacked a clear view of stars to test the beast on, but fortunately there are plenty of Christmas lights to work with. Here’s a quick shot from one of the more-colorful nearby houses:
Some of you may recall that when the original Olympus E-M1 was released 3 years ago, quite a controversy was stirred up by its handling of long exposures. Basically, the noise level for the E-M1 was much higher than that for it’s much cheaper predecessor, the E-M5. At the time, I was able to compare an E-M1 and E-M5 side-by-side, and wrote up the results for public scrutiny.
So, now that the E-M1II is available (if only in limited quantities so far), I thought it’d be interesting to compare my copy of it to my E-M1 that helped make such a stir (while I still own it). I’ve also got an E-M5II on hand, so thought I should throw it into the mix as well.
I recently received an Olympus E-M1 Mark II — the idea being that it’ll shortly replace my trusty original E-M1 I purchased a few years back. While I’ve still got both, I’ll be shooting and posting some comparison shots between the two models — but first will be writing a few posts on upgrades and changes in the new model.
First up — setting up back button focusing.
What is back button focusing?
For those unfamiliar with the term, back button focusing refers to separating the focus and expose functions that normally occur sequentially when you depress the camera’s shutter button (focus on half-press, exposure on full-press). If you “move” the focus function off the shutter button, and assign it elsewhere, life is easier when photographing a fast-moving subject (like wildlife) — you can focus once, then concentrate on your timing / composition / exposure. Assuming, of course, that your subject doesn’t change its distance from you significantly as it flits about.