Category Archives: Daily Thoughts

The Olympus E-M5 using Dramatic Tone: by Tamer Erdem


Here is the link

‘Though the basic principles of photography are still valid, digital photography changed the rules of the game when it comes to post/in camera-processing. Post-processing or in camera-processing facilities and potential are almost endless and much more effortless in digital era. Art filters were introduced by Olympus a couple of years ago. After Nikon D300, when I purchased my first Olympus, E-P1, I really fell in love with pinhole effect and grainy black and white art filters.

Then I got E-P2 and like new diorama filter that miniaturize the scene. But the ultimate filter that I can desire was offered by OM-D, E-M5; dramatic tone filter for landscape photography. If you do not have enough time for post-processing and like some punchy, strong and slightly surreal landscape images, go for it without any hesitation’

Streetshooting the Olympus OM-DE-M1 By Robin Schimko

S-HUFF BlogAn interesting article on Steve Huffs Blog on Robin Schimko uses the Olympus OM-D E-M1 for street photography.

Here is the link

“The last couple of years I was shooting DSLR full frame bodies only and I didn’t care much about mirrorless cameras. After a while I realized that taking candid pictures out on the streets is a lot of fun. The only problem was the bulkiness of my camera that seemed a little intimidating when people noticed me taking their picture. It would have been an easy solution just to step back a little and take a longer lens, but that’s not me since I like to get close. So I got myself a Fuji X100s but even though I really loved it, the AF frustrated me from time to time and I sold it.

Then I started researching about mFT cameras and that’s when I stumbled upon and I was blown away by his work. That’s why decided to jump into the Olympus system and I bought the E-P5. I was shocked about the super-fast AF system and the pretty good image quality. The only thing I was really missing was a proper grip and suddenly Olympus came out with their new flagship, the E-M1. A couple of weeks later my local camera store had the E-M1 in stock and I went there to try it out. I couldn’t resist and bought one. Usually I am not that guy who is changing his gear so rapidly but the mirrorless world was new to me and I had to find out what would work best for me.”

Please don’t post unedited JPGS !!!! (Rant)

RANT: Take no offense….

One thing I have seen at a greater and greater pace, is photographers who no longer edit their images and really believe that their Out-Of-Camera JPGS are excellent! BUNK!!!!! That’s right, BUNK!!!! You are kidding NO ONE with your Ideology, your self-convinced ego, your FLAT, LACK OF COLOR, LACK OF POP, LACK OF FINAL SHARPENING, Posed images!!!!

If you spend so much time to travel to a great location, with just the right light, and spend 2 hours taking some images. Why not spend 1-2 hours editing them to look their best? NO Out-Of-Camera JPGS are excellent, NONE!!!! they all need some tweaking, mainly in these area at the least:

  • Curves or Levels for targeting the Dynamic Range, and some color adjustment
  • Sharpening…. all OOC JPGS are not sharpened that much. The Image does needs this… really!!!
  • Contrast adjustment (that works on micro-contrast), or a general contrast adjustment.
  • Saturation…..This adds POP to the colors.

I have seen some really great images…. but, the photographer didn’t do any editing at all, except to reduce the size for posting. So, this really nice image is a total display failure in the webs social arena… period! That is the reputation that is being built over time.

Please don’t use the excuse you have no time…. take less time out with your camera, so you have some time to edit. The results are well worth it in the long run. The “Long Run” is your reputation you are “building” now with each edited image you post.


Sample Out-Of-Camera (Olympus E-M5, Panasonic G 14mm f/2.5 ASPH, Super Fine JPG, Neutral Image Setting, ISO 200, Warming Filter Off)


Edited version: Levels, Contrast, Sharpening — under 2 minutes

OLYMPUS DIGITAL CAMERA———————————————————————————————————————————–

Sample Out-Of-Camera (Olympus E-M5, Panasonic G 14mm f/2.5 ASPH, Super Fine JPG, Neutral Image Setting, ISO 200, Warming Filter Off)

OLYMPUS DIGITAL CAMERAEdited version: Levels, Contrast, Sharpening — under 2 minutes


I am now including all “OM-D” models…

The name of my blog is now “Olympus OM-D Resource Blog”

The domain is still the same:

And with this change, I would like followers, that will own the OM-D E-M1, and would like to be a collaborator , and write short articles that will help others with the operation, and use of the OM-D E-M1 in different photo situations. You will get full credit of course.

Also. anyone who would like to be a collaborator who owns an OM-D E-M5, is also welcome to write articles that will help others with the operation, and use of the OM-D E-M5 in different photo situations.

If you are interested in writing short articles about your OM-D model, please contact me though my “Contact” tab above. Please provide your email that was used when your registered with “WordPress” in the request. And provide me with your “WordPress” User ID. I will need these to authorize you with my “WordPress” account so you can have the required access to write articles.

I will get back you and make the arrangements and permissions you will need.

The E-M5 and Street Photography revisited

As much as I like photography, I have recently discovered “Classic” Street Photography. Why do I say “Classic”, because I happen to like the masters of old…. Yes, Henry Cartier Brennson, for one. He did more than take haphazard people pictures on the streets. He made sure the surrounding geometry was right, the lighting was right (you know, where the shadows fall, how the light builds up the textures), the direction of the person you are about to photograph is facing, how close you need to be to make it all work together (or far away). HCB looked at the whole frame, and made sure it all worked together in one photograph. Remember, HCB was trained in Classical French Painting. So he had the concept of building and image from nothing.  Henri Cartier-Bresson from Wikipedi.  In the 1920’s on, HCB hung out with a group of “Surrealist” photography movement that believed in a more pure approach to photography than the current cultural traditions. This was one of the movements in the ART world that was moving the ART world to a modern era at that time.

From Wikipedia: HCB  became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Titled Three Boys at Lake Tanganyika, this captured the freedom, grace and spontaneity of their movement and their joy at being alive. Cartier-Bresson said: The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave I couldn’t believe such a thing could be caught with the camera. I said damn it, I took my camera and went out into the street.

HCB also said after seeing this photograph (from Wikipedia) This photograph inspired Henri Cartier-Bresson, the father of modern photojournalism, who said about it, “I suddenly understood that photography can fix eternity in a moment.


Now, the reason I gave a short history of HCB, is to help explain what the Masters of Old considered Street Photography. It was capturing life on the street at the precise moment of enthusiasm, or interest. Which means you will need observe what is going on around you, and decide just when to take a picture to capture the height of interest in the picture. Now, we have many Street Photographers with their own twist on capturing the height of interest. But, the basics are still valid for their work.  They are capturing a height of interest in the people they are photographing. We also have many photographers who think they are Street Photographers, but, their work are more “Snap-Shots” without capturing a moment of interest. They need to find the right moment to take the picture… and “LOOK AHEAD” for potential opportunities. That is the hardest part… “Thinking Ahead” and being ready at the right moment with the camera. even it is just 10s ahead, it may be enough time to think, frame, and snap to capture it…This doesn’t always workout… even HCD said in a few You Tube Video’s that “capturing” the moment is a lot of luck. He saw the “Right Moment”. but, his exact timing may be off .5 second…. and miss it.. So, no worry… there is safety in numbers! Henry CB took an average of 700 photographs a day… how many do you think where “Keepers”  5%, 10%, 15%, 20%.. For me, on a 36x roll, I may get 15 like as far framing, geometry and expression, 7 I really like, but still lack a little in total essence,  1-2 keepers. (IE: perfect timing).. What is %’g of “Perfect” captures?  I’d bet HCB had at most a 5-10% rate of perfect captures…So, a days work of 700 pictures may produce 35-70 “Perfect” captures… Just a guess…. That seems like a doable %’g with understanding all the elements of a well defined photo, and experience as your trigger. He might have had upwards of 250 that are “OK” for the rest of us also.

 I am aware that many newer Street Photographers are less concerned about the whole image, and more concerned about just snapping off as many as they can, and hope they get a good on in the mix.. Good Luck, you’ll need it…If HCB, or any other Classic Street Photography famous Photographers, understood the need to take everything into consideration, Geometry, Light direction, Light Quality, Shadow Play, Subject placement, Subjects expression, Cameras Perspective (high, low. aimed up or down) to make a great Photograph, that also had a quality of artwork when you look it. Then, if you are serious about being a good, or great Street Photographer, you must also understand more on how to make all the elements work in harmony to produce a good photograph that has a art feel to it.

Street Photography takes work, and practice, hard work to achieve great results. It also takes a keen eye for total composition in the whole frame. This is like JAZZ in my eyes… all the elements are in harmony, and are necessary to make it work. The more we prepare ahead of time to capture the right moment as we walk and observe on the streets.

We need to look at the buildings and reflections, and decide at what vantage point we need to be at for a successful photograph  that has the elements where we want them.

  The Olympus E-M5 with it’s tilting LCD make a great waist level camera with the LCD laying flat so you see it when you look down. I use my Panasonic G 14mm f/2.5 ASPH lens on Manual Focus, and “Aperture” exposure mode. I set it at f/5.6 and pre-focus at 10′ or 3m in AF mode and turn it off, then 4′ to INF is in focus.  At f/5.6, you can use ISO 200 and have fast shutter speeds to help stop any walking and other movement you may encounter. All I do is frame at waist level, and push the shutter when the scene is right.  (make sure to turn off the “Auto EVF/LCD” switch under Gears/J)

The biggest thing I am learning is how to “Look Ahead” at potential opportunities that may be a 10-20 second walk away… that is enough time to move so you can frame the photo so it all works together… or at least the best you can at that time.

Another thing I am learning is to “watch for potential expressions” when 2 or more people are together. They could be talking, or doing something together. You never know when you will get a great expression or look…

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Have a great day!

“Full Frame Equivalence” and Why It Doesn’t Matter By Jordan Steele

A great article explaining why the differences between Full Frame and smaller formats doesn’t matter “IF” you understand a little bit about the differences, so you can pick the right lens and f/stop for any format.

Snip it

“With smaller than 35mm sized sensors, you will often hear talk of a camera’s or lens’ “full frame equivalent” focal length or aperture. This can often be a source of great confusion among new shooters, and it can also be a point of disturbingly odd derision for other people, especially with regards to ‘aperture equivalence’. I’m going to try and give a clear view of what is truly meant when someone is talking about full frame equivalence, as well as dispel several myths about it, and ultimately tell you why, if you shoot with a smaller format, it mostly doesn’t matter”

What does “Full Frame Equivalent” mean?”

Click on the Link under the image to find out what all the misunderstanding is about.

Angle_of_viewFull Frame Equivalence” and Why It Doesn’t Matter By Jordan Steele