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  1. SSSYURRR

    SSSYURRR Mu-43 Regular

    64
    Mar 12, 2014
    Moscow, Russia
    Sergei Yurin
    Hi, my name is Sergei Yurin, I am wedding photographer from Moscow, Russia.
    I have a friend here in the community who's been asking me to join for a couple of months now. You might know him as LivingLoud.
    I used Canon 5D Mark II and other canons + several L lenses for about seven years. January 1 2013 I decided to replace my Canon gear with Olympus OMD E-M5 with lenses listed in my signature. I can say that I was very impressed with the result from this little Oly camera:) 
    Now I want to share with community some of my photos from my weddings. At the moment shutter count on my OMD E-M5 shows 100K shutter actuations, it was heavily used, I've shot 60 weddings with Oly during year 2013. Also I bought E-P5 because I like how it looks like and how it works, IMO it's one of the most beautiful Oly cameras:) 

    UPD: if you interested then check all the pages of this topic, I'll share more pictures there:) 

    And now, several photos made by me with m43


    1. E-P5 + 60/2.8 macro
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    2. E-P5 + 9-18/4-5.6
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    3. E-M5 + 9-18/4-5.6
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    4. E-M5 + 45/1.8
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    5. E-P5 + 75/1.8 (my lucky combo!!!)
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    6. E-P5 + 75/1.8

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    7. E-M5 + 75/1.8
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    8. E-M5 + 9-18/4-5.6
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    9. E-P5 + 9-18/4-5.6
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    10. E-P5 + 75/1.8
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    11. E-P5 + 9-18/4-5.6
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    12. E-P5 + 9-18/4-5.6
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    13. E-P5 + 75/1.8
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    14. E-P5 + 9-18
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    15. E-P5 + 75/1.8
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    16. E-P5 +75/1.8
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    17. E-P5 + 75/1.8
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    maybe one of my photos will promote somebody to switch to m43, that's would be cool:) 
    comments, questions etc are welcome

    p.s. sorry for my english
     
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  2. Amin Sabet

    Amin Sabet Administrator

    Apr 10, 2009
    Boston, MA (USA)
    Dear Mu-43.com members:

    In recent months, we've been seeing an increase in aggressive, uncivil comments in the forums. Most of these have been in the format-specific discussions. More often than not, they occur in response to someone who is discussing concerns or shortcomings of specific Micro 4/3 gear or limitations of Micro 4/3 in relation to other systems.

    This is a Micro 4/3 community, and it has always been a priority of ours to keep this a friendly and constructive environment for Micro 4/3 users. By no means have we ever tolerated trolling of the Micro 4/3 system here.

    I understand that many of our members have been on (and in many cases still visit) other websites where they feel that they are getting trolled and/or constantly beaten over the head with reminders about tradeoffs of our system vs others. But I would argue that some of those who complain about the uncivil behavior they experience on other sites behave in exactly the same narrow-minded, uncivil way here.

    It's only a handful of members making rude, dismissive, or harsh comments in these discussions, but it poisons the atmosphere for the rest of us. It has to stop. I'm going to be more involved and am asking the moderators and members to help.

    With that in mind, please:

    -Be polite and respectful to fellow members at all times.

    -If you feel like you have to be harsh or dismissive of someone because they are putting down Micro 4/3 in some way, report their post instead. If the moderator team thinks they are trolling, we will intervene. Either way, it is not acceptable for you to respond with a rude post.

    -If you see anyone being rude or aggressive in our forums, please report their posts so the moderators can have a look. There is a report button under each post, and it sends the moderators a direct link to that post.

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    The moderating team will take action as needed to address the behavior of any member who is frequently affecting the community in a negative way.

    One final comment: We have always allowed non-Micro 4/3 camera photography in our Images to Share forums. The reason is that a lot of our members shoot more than one system. We are a community of photographers. If someone goes out for a session of street photography with their Olympus and happens to get a great capture on their iPhone or Canon, they are encouraged to share it. No one should give anyone any flak for posting non-Micro 4/3 in those forums. If you see that happening, please report it.
     
    Last edited: Nov 7, 2018
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  3. oloap

    oloap Mu-43 Regular

    52
    May 22, 2013
    Switzerland
    Hello everyone,

    I'm just back from a spectacular roundtrip in Namibia. I was in a small group of photo enthusiasts and we had a lot of fun, Namibia is a photographic paradise!
    Unfortunately I had not enough time to visit the Etosha Park, so it was mainly a landscape safari.

    These are some of my favorite shots. Hope you enjoy :) 

    Exif are intact.

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    <a href="https://www.flickr.com/photos/127405291@N05/14967872988" title="P8260839 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/14967864978" title="P8230344 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/14967745590" title="P8210398 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/15154345462" title="P8210522 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/14972185010" title="P8270025 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/14967875438" title="P8240629 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/15135824236" title="P8210112 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/15154426085" title="P8200018 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/14972118369" title="P8200052 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/15154442685" title="P8271028 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/14967860658" title="P8160135 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/15158855765" title="P8260458 by Paul D', on Flickr">
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    <a href="https://www.flickr.com/photos/127405291@N05/15151468781" title="P8210458 by Paul D', on Flickr">
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  4. spatulaboy

    spatulaboy I'm not really here Subscribing Member

    Jul 13, 2011
    North Carolina
    Vin
    Hello friends, this is something I've been meaning to do for a while. Unfortunately I came down with a nasty case of the flu over the holidays and that set me back a bit. I'm back in action and sitting around being sick did give me time to think this subject over. lol.

    I started with Micro Four Thirds three years ago; got it as a fun, do everything camera. My photography has really grown over the years and the system itself has grown quite rapidly as well. In this past year I have gotten more serious with my work and most of that is portrait work. I love sharing my photography on this forum and seeing other people's stuff as well. However I have such a huge volume of photos I feel doing an individual thread might be more ideal. I will also use this opportunity to share some of my thoughts on portraiture and the Micro Four Thirds system.

    A few things first though. Although I will be showcasing what m4/3 can do, I don't want this to come off as some sort of m4/3 defense thread. It is not the perfect system by any means but it's strengths and capabilities suits my needs and I feel there is a lot of misconception out there that hopefully I can address. One thing is certain, I am never insecure about my equipment. Clients chose me over competitors that shoot Full Frame because of my work, and I think that speak volumes. Now I'm not saying m4/3 is better than FF, facts are facts. Full frame has many advantages over m4/3, but the fact that m4/3 is even being compared to FF at all (and so often!) really shows how capable m4/3 can be! Imagine four cylinder Hondas being compared to V8 Ferraris on a regular basis!

    I want to start things off with this portrait of a young actress.
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    Sparkle in her eyes by Vincent-F-Tsai, on Flickr

    That was taken with the Olympus 75mm f1.8 on my Panasonic G2 body. Lit by an assistant with reflector. I chose this because I feel this image really epitomizes my ideal portrait style and all the elements of a good portrait in general. Lighting, composition, subject matter, depth of field, processing. All these elements are essential for a good portrait, or a good photograph in general. Often times I find people focus on just one single element and ignore the rest. Depth of field is often the subject of this obsession.

    Depth of Field

    Whenever I read anything about Micro Four Thirds online, it is without fail, someone will mention DoF equivalent. Every. Single. Time. Often this is mentioned in a way to suggest the depth of field of m4/3 is somehow inadequate. I always wonder why this occurs. Because really, the only reason why someone would want more shallow DoF is for portrait work. I can't think of any other instance in photography where that one single element would be so important to prompt someone to bring it up incessantly. Are all these guys portrait photographers? They don't really sound like it, yet it seems like everyone is obsessed with it.

    Well I will share my opinions on depth of field. Fact: Full frame cameras have a shallower depth of field than Micro Four Thirds. Let's just get that out of the way. Everyone should know this by now. Why argue about it? If you value ultra thin depth of field, get full frame, problem solved. I myself love bokeh and depth of field just like everyone else. And DoF IS important in portraiture, which allows a proper separation of your subject from the background. So why am I using m4/3 then? Because in practical use, with the right lenses, I find the DoF perfectly suitable for my style. I do primarily head shots to half body shots. And at those distances most m4/3 lenses will give you plenty of background blur.

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    Ashley - Museum by Vincent-F-Tsai, on Flickr

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    Surrounded by bokeh by Vincent-F-Tsai, on Flickr

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    Samantha: Model, Actress by Vincent-F-Tsai, on Flickr

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    Laura pink sweater by Vincent-F-Tsai, on Flickr

    Now once you get to full body portraits, that's when you'll notice the big difference in DoF. There are some who really like that ultra separation look in full body portraits, I find this look popular with wedding photography. I'm not a wedding shooter and personally I find this look very unnatural. However if you are really into that look, FF is probably the better choice. My philosophy is, most full body shots become environmental portraits. And seeing some of the surroundings help put the portrait into context. This is a creative choice and honestly, with lenses like the Oly 75 and the upcoming Nocticron, I find they give my full body shots just the right amount of separation without looking unnatural. Of course choosing your backgrounds carefully and composing your frame properly is probably more important. But that applies no matter what camera you are shooting.

    Here's a couple of environmental portraits done with the Pana Leica 25mm f1.4. Can the background be blurred more? Of course. Would it make it a better picture? That's up to each individual artist and what they are trying to convey don't you think?
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    Cobblestone Fashion by Vincent-F-Tsai, on Flickr

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    Future by Vincent-F-Tsai, on Flickr

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    More cool chairs! by Vincent-F-Tsai, on Flickr

    Some more full body/ 3/4 body stuff:

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    Heel clickin good time by Vincent-F-Tsai, on Flickr

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    Alicia - Secret Garden by Vincent-F-Tsai, on Flickr

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    36/365 House Hunter by Vincent-F-Tsai, on Flickr

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    Lena in the field by Vincent-F-Tsai, on Flickr

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    The sound of music by Vincent-F-Tsai, on Flickr

    Seeing the Light

    Now all this talk about depth of field brings me to something I find much more important in portraiture. Lighting. To distill "good portraiture" into a single element of depth of field is completely absurd. Yet like I mentioned earlier, I encounter this attitude constantly online. I see plenty of poorly lit, poorly composed portraits online (on this forum as well), but hey, there is plenty of bokeh right? I enjoy shooting on location in natural light, but I will employ reflectors or flash when needed. Even then I will try to make it look as natural as possible. I have developed a back lit portrait style over the years, it's difficult to pull off but I love the results I get. Being creative with lighting is definitely something that will set your portrait apart from your standard studio look.

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    52/365 Contre-jour by Vincent-F-Tsai, on Flickr

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    Bubbles! by Vincent-F-Tsai, on Flickr

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    Catching fire by Vincent-F-Tsai, on Flickr

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    138/365 Here comes the sun by Vincent-F-Tsai, on Flickr

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    Paige - Contre-jour by Vincent-F-Tsai, on Flickr

    The Olympus 75mm f1.8

    I want to bring this lens up for a moment. Olympus did an amazing job with this lens and it really elevated m4/3 to a much more serious level in my opinion. This is a top notch high grade professional level lens and the results speak for itself. With the upcoming release of the Panasonic Leica Nocticron, m4/3 is really becoming a super capable portrait system. Exciting times ahead.

    Some Oly 75 shots:

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    LG by Vincent-F-Tsai, on Flickr

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    Amber by Vincent-F-Tsai, on Flickr

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    JDB by Vincent-F-Tsai, on Flickr

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    Laura in woods by Vincent-F-Tsai, on Flickr

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    Pillar by Vincent-F-Tsai, on Flickr

    Now the Oly 75 is not the only portrait option of course. The Oly 45 is an amazing little lens for a seriously good price. Everyone should have one in their bags really. Then there are adapted lenses. There is a whole world of possibilities with adapted lenses. I love shooting my Minolta primes and the 2x crop factor make them ideal portrait lenses. Even with my modern native glass I still find myself shooting the Minolta MD 50mm f1.4 all the time. There is something special about the rendering and shooting experience that I just love. Yes they are soft wide open, but in some ideal lighting conditions they will render beautiful portraits. Stopped down to f2 they sharpen up nicely. Here are some with my Minolta MD 50mm f1.4.

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    2nd Edit Amber by Vincent-F-Tsai, on Flickr

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    Bokeh Girl by Vincent-F-Tsai, on Flickr

    Well guys thanks for staying and allowing me to share my work and thoughts. I don't think I've ever been so wordy! Please feel free to comment if you agree or disagree. Critique on my photos welcome as well! I am still developing my style and any feedback is definitely helpful!
     
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  5. Yesterday morning I set off on a small paddle with the kayaks around the bay we live in. I almost took no camera, but decided that despite the overcast day, I could probably get some kayaking shots of my sister and her friends. Since wildlife photography was off the menu, I left the 300 Pro in the cupboard and stuck on my old Oly 75-300 v.1, a reasonable lens for close to medium shots. Upon our journey, I soon spied an eagle perched on a tall rock, eating some sort of sea creature.
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    I drifted slowly closer, shooting in SAF-L, since on my EM1 SAF seems to be more accurate for stationary objects. Closer now, I switched to CAF-L, my favorite myset for BIFs. No sooner had I turned the dial, then the eagle alighted with prize clutched firmly in his talons. Often the first couple shots in a burst may be less than sharp, but in this case I was lucky.
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    The bird launched off the rock

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    and sped towards me, carrying his meal off to another nearby location.
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    In the last shot, he is swerving off into the trees.
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    When shooting from a kayak, I don't often get a series of head-on shots since I would almost have to lay over on my back to keep the bird in the frame. I was pretty pleased with these.
    We headed across the bay towards the other side. In the distance, I spied a flock Surf Scoters intermixed with a couple of Harlequins. I've never got any really good pics of either--Harlequins are spooky and Surf Scoters are not too common around here. I thought I'd try again and managed to get one mediocre shot.
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    I'd heard eagles nearby but ignored them, concentrating on these other birds, but a shout from my sis brought my attention to a nearby outcropping and the activity taking place.
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    I think the male was pretty proud of himself.
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    Things soon calmed down and eventually the pair flew off for other parts.
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    I have never photographed this before and felt fortunate to have finally been in the right place . Later that day, my wife saw the male (she thinks) crashing through the trees and ripping out a branch, which he clutched in his talons, landed in another branch, stuck the branch in his beak and flew off to the female with his addition to their nest.
    When I shoved off the beach in the morning, I couldn't have imagined all the opportunities I was to have. If I had, you can bet I would have brought the 300 Pro! In the end, I'm just glad I brought something, and it proves the old adage that the best camera is one you have along.
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    Thanks and I hope you enjoyed,
    Eric
     
    Last edited: Apr 22, 2018
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  6. kwalsh

    kwalsh Mu-43 Top Veteran Subscribing Member

    832
    Mar 3, 2012
    Baltimore, MD
    In September of 2009 after experimenting successfully with an LX3/FZ28 combination on a trip instead of taking my Canon APS-C gear I decided I would try out a m43 system as a "do it all small" kit. The G1 had been getting great reviews and the introduction of the 7-14 meant that I wouldn't be missing UWA for my landscapes. So I picked up a G1+14-45 kit (blue because it was the cheapest) and was pretty impressed with first tests around the house. Lucked out on a used 7-14 off of E-bay (they weren't even sold by US retailers yet at that time) and a used 45-200 as well. Gave the kit a first run on a Death Valley trip a month later and found it was just about perfect for my needs.

    Well, it is September 2014 now which means I've been shooting m43 for five years now. For the past two I've rarely been able to shoot much landscape, but my gear list has expanded greatly with a slew of primes for shooting our now two year old daughter. When I bought that G1 the forums were filled with complaints about no primes or portrait lenses. These days forum posts are mostly angst about which of the many great primes to get. Times change!

    I figured the five year anniversary was worth commemorating some how, so here are ten photos I've shot over the past half decade using m43. Apologies, I'm sure forum regulars may have seen many of these before. Despite the overwhelming focus on kid photos for the past two years I've only included two shots since I know family/kid photos can get tiresome to those not in the family! It was hard culling down to ten, but that already seemed like too many photos for one post. Short description below each one.

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    From my very first trip with m43, this is shot with the 45-200. That trip had a lot of keepers, but this one is my favorite. Eureka Dunes.

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    From my next trip to the Death Valley area, this shot in Panamint Valley. It really looked like the sunset twilight hour was going to fizzle, but there were some cracks in the clouds to the west so I waited it out. Some color made it through in the end! This is the 7-14 obviously.

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    We were very fortunate on our visit to Denali National Park in 2010 that the peak actually did emerge during the couple of days we are there, it tends to stay hidden in clouds for months on end. While there were some periods in which the peak was entirely clear I preferred the look of it almost emerging. Actual peak is marked by the standing lenticular clouds which formed over the top of it. Stitched pano using 45-200.

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    I spent a few days in Northern AZ in the fall of 2010 and it was generally a poopy trip. The weather was not pleasant and I was just in a bad mood for some reason. As plans changed I ended up doing way more driving than I wanted. But I did find this vantage point around mid-day and decided I wasn't going to find anything nicer and so just took a nap and read to wait for sunset. Predictably bad weather moved through while I was waiting and so it looked like the whole thing was going to be a waste of time. But I could see low on the horizon in the very far west the sky was clear and so there was a hope that despite being cloudy where I was that a thin line of twilight fill would be present on the horizon giving a soft side light that could work - or it could all fizzle. Well, it seemed to work out. Shot with the 14-45. The B&W version is very nice too, but I had to chose just one to post.

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    Adapted lens fun, this a 500/8 mirror lens. There is a particular kind of lighting you can get in morning or evening twilight if there are cirrus clouds at the horizon in the direction of the sun but clear skies everywhere else. The cirrus clouds lit from below by the rising sun (still below the horizon where you are shooting) produce a broad pink light source along one horizon while the rest of the sky produces a blue fill light. When I see that kind of light may develop I head for locations likely to benefit. In this case the canvas for that light are sand dunes. I wish I could claim I thought of this particular super-telephoto interpretation of dunes, but no I'd seen a similar shot by an excellent photographer a few years earlier. But I wanted to try it with my favorite kind of light, and so here it is.

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    This shot also shows the effect of pink horizon/blue fill on an otherwise normally monotone subject. This also uses a bit of forced perspective, shot with the 7-14 at 8mm with the camera about 6.5 ft above the ground. The salt cracks in the foreground are much larger than you might expect (I spent awhile hunting for extra large ones). The combination of UWA, high view point and unusually large foreground objects gives a very strong appearance of perspective sucking the eye into the picture and making the salt flats appear even more extensive.

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    Daughter was on the way when I shot this one, I knew my landscape shooting trips were going to be stopping for awhile but I managed to sneak one more in before life changed. By this point upgraded to GH2 and this is actually shot with the 45/1.8 - was starting to collect primes in preparation for parenthood. Shot this well after sunrise, was back at my truck packing up after having shot my planned morning composition (it was so-so). The layers of mountains and aerial haze was very striking and well complemented by the clouds in the sky. Liked this unexpected composition better than my carefully planned one from earlier in the morning. Shot from the Panamint Range looking east over Death Valley.

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    I did get one short trip in when our daughter was almost nine months old, but it wasn't a photography trip really. Whirlwind tour of NW Death Valley for my brother and nephew that was more about exploration and hiking than any dedicated time for photography. But we were at Racetrack Playa around sunset and so I did take the time to find a composition. That's the beauty of m43, it comes with you when a bigger system would have been left behind. This one I thought was going to be unimpressive when shooting - didn't think the light was going to work well in post processing. Nonetheless, it would be silly not to shoot so I did with AEB stacks to handle the large DR. Now shooting an E-M5 (what a great camera for shooting kids) and this with the 7-14 of course. This one ended up really shining in post, glad I kept clicking the shutter as the light changed!

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    Infants are ugly. I'm sorry, they really are. So I've left out the early baby pictures. But by 9 months to a year they get pretty darn photogenic. I've been so happy shooting family with the E-M5 and the m43 primes. This shot on the technical side captures a lot of why. It uses the gorgeous rendering of the 25/1.4. I love the flip LCD on the E-M5 for getting low perspectives easily, this shot holding the camera down into the crib. IBIS allowed this to be shot at ISO800 (exposure is 1/5) in a very dimly lit scene.

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    Alright, we could have endless shots of the kid. But time to wrap it up. This is the 42.5/1.2 and a fairly recent shot of her (looks like she is going to be a lefty). The story on family photos is the system has performed amazingly well. E-M5 and lenses like the 25/1.4, 42.5/1.2 and 75/1.8 work wonders at home. These days the GM1+15/1.7 or 12-32 fit in my pocket when we are out and about. I do a photo book of our daughter through blurb once a year for family members, whom I'd expect to ooh and ah even if there were just cell phone photos in it. But I am told by said family members that visitors who pick up the books off the coffee table don't put them down and are quite struck by the photos. So apparently, despite when I started m43 five years ago and it was a "slow-zooms only" system by this point in time it is doing great in the portrait department too.

    If you made it this far, thanks for taking the time to share in my retrospective! Looking forward to five more years with this system.
     
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  7. Mountain

    Mountain Mu-43 All-Pro Subscribing Member

    Aug 2, 2013
    Colorado
    I've seen a number of hummingbirds lately, and fortunately I've had my long lens along on a couple of occasions. I know that small sensors and slow lenses aren't supposed to take bird photos, but I went ahead and did it anyway. I've posted some of these in the "Share Birds" thread, but since they keep showing up in my yard, it's probably time to give them a dedicated thread. We planted a number of Agastache plants (nicknamed "Hummingbird Mint") over the last couple of years, and this year especially, it seems to be bringing them in. These are from a few days over the last month or two:

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    [

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    Last edited: Jan 15, 2018
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  8. pdk42

    pdk42 One of the "Eh?" team Subscribing Member

    Jan 11, 2013
    Leamington Spa, UK
    Back in the days of the darkroom, it was common to use "dodging" and "burning" to hold back or increase the exposure of parts of the paper during enlargement. The idea was to make a small cardboard cut-out that you mounted to a thin metal wire, and which you then waggled between the enlarger and the paper during print exposure. That way, you could increase or reduce the exposure of certain parts of the image so as balance the DR on the final print. It was very common as a technique to bring up the foreground to better match the sky on landscape shots. There is a Wikipedia write-up of it here:

    Dodging and burning - Wikipedia

    Using the Livetime feature on Olympus cameras you can achieve the same effect at capture time. I used the technique on the shot below:

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    Sprague Lake by Paul Kaye, on Flickr

    The sky was quite bright and the lake was dark. I wanted to get the exposure on the lake up. I could have done it with stacking, but I wanted a long exposure to smooth the lake's surface and stacking long exposure shots take A LOT of time. I could have perhaps lifted the shadows in PP, but then you're fighting noise and of course there's a limit to what's possible anyhow. So, this is what I did:
    • I installed a big-stop ND filter on the camera (10-stop in this case). The camera was on a tripod of course.

    • Set exposure to livetime with a 2 second increment on the setting. A day-time exposure with a 10-stop ND and f5.6 or f8 is usually around 20-30s so with 2s you'll get about 10-15 updates.

    • Before starting the exposure, I held a black mask (in this case the black fabric wallet for the filters !) just in front on the lens so that it was obscuring the sky.

    • I started the exposure (remote release from my phone).

    • I wiggled the filter wallet around to prevent a hard line and watched the image build on the screen. At this point, it was only the lake that was building.

    • By observing the building image, I could adjust the position of the mask to allow the lake surface to build its exposure. I would occasionally move the mask away briefly to let some of the sky come in so that I could judge the balance better.

    • When the lake was nicely exposed, I took the mask away entirely and waited until the sky was cooked. The histogram helps to prevent it going too far.
    It takes a bit of practice to get the technique right, but it's not hard and definitely well worth it. The shape of the mask I use is usually just straight, but you could obviously make it more sophisticated by cutting something that matches better the scene. Personally I don't go to this level of complexity, but it would increase the technique's power.

    Voila! I use it quite a lot. Here are some other examples:

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    Winter Light in Bruges by Paul Kaye, on Flickr


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    Seaweed & Castles by Paul Kaye, on Flickr


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    The Weir in Winter by Paul Kaye, on Flickr


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    The House Beyond the Quay by Paul Kaye, on Flickr


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    Bow Bridge, Central Park III by Paul Kaye, on Flickr
     
    Last edited: Feb 6, 2019
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  9. Nam-in-Sonoma

    Nam-in-Sonoma Mu-43 Top Veteran Subscribing Member

    642
    Aug 23, 2012
    Penngrove, CA
    Nam
    Two days before Christmas, it rained so hard in the Northern California which meant that there will be snow for sure un the Eastern Sierra or Yosemite National Park....so with a few photographers friends of mine, we decided to take a day trip. We got there around before sunrise, we were surprised to see snow covered the Valley floor from Tunnel view...however the burn colors were not there so we rushed to the meadow where we can get the El Capitan reflection on Merced River.

    My IG in case you are interested: @naminou

    [1]
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    El Cap over Merced River by Nam Ing, on Flickr

    [2]
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    Three Brothers Reflections by Nam Ing, on Flickr

    [3] Then we moved to the small chapel, perfect image for Christmas
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    Yosemite Chapel by Nam Ing, on Flickr

    [4] Across the river stands Yosemite Falls
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    Yosemite Falls by Nam Ing, on Flickr

    [5] Off the main road, I was surprised to see this
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    Into the Wood by Nam Ing, on Flickr

    [6] On one side of Sentinel Bride
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    Half Dome Reflection by Nam Ing, on Flickr

    [7] the other side
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    Reflection from Sentinel Bridge by Nam Ing, on Flickr

    [8] In the Meadow
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    Lone Tree Snow Covered by Nam Ing, on Flickr

    [9] Another Half Dome reflection
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    Snow Balls with Half Dome by Nam Ing, on Flickr

    [10] Waiting for sunset...but the fog and snow came and ruined it
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    Tunnel View by Nam Ing, on Flickr
     
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  10. oloap

    oloap Mu-43 Regular

    52
    May 22, 2013
    Switzerland
    Hello everyone,

    A few months ago I've been in Bali and Java, these are some of my favorite shots.

    All pictures taken with OM-D E-M1 and Olympus lenses, hope you enjoy :) 

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    7-14 2.8

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    12-40 2.8

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    40-150 2.8

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    12-40 2.8

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    12-40 2.8

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    12-40 2.8

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    75 1.8

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    40-150 2.8

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    75 1.8

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    12-40 2.8

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    12-40 2.8

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    75 1.8


    You can also find some different shots on my instagram page, I hope to update it regularly in the coming weeks.

    Cheers,
     
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  11. atomicmak

    atomicmak Mu-43 Regular

    160
    Jan 6, 2015
    Ahmedabad, Gujarat, INDIA
    Mital Patel
    Hey all,
    I just came into this forum after a long time and thought I should post some results with my 3 year shoot wedding and commercial portraits with EM1 mki.
    Got 12-40, 25 f/1.8, 75 f/1.8 and hopefully soon to acquire EM1 mkII 40-150 and 300f/4 as well.

    I am pleased shooting all the time with this mobile kit.
    Feel free to put your reviews.

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  12. m43_landscapes

    m43_landscapes Mu-43 Rookie

    22
    Jan 23, 2017
    Texas
    Nearly four years ago I bought into mirrorless with an Olympus OM-D E-M5 and a 12-50mm kit lens.

    My primary camera system was a Canon 5D3 with an assortment of giant, heavy lenses. The micro 4/3 system appealed greatly to me to serve as a backup as well as a lightweight travel camera.

    I've lurked here plenty but have just joined today. I wanted to post a brief selection of images from my nearly 4 years of shooting with the Olympus. All of these were shot with the E-M5.

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    Lake Buchanan, Texas. Dec. 2013.

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    Devil's Den. Big Bend National Park. March 2014.

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    Lake Fork, Texas. March 2014.

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    Mesquite Dunes. Death Valley National Park. November 2015.

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    Palo Duro Canyon State Park, Texas. December 2016
     
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  13. ijm5012

    ijm5012 Mu-43 Legend Subscribing Member

    Oct 2, 2013
    Pittsburgh, PA
    Ian
    Many of us come to m43 because of the smaller size and lighter weight of the equipment, looking to downsize from our larger and heavier DSLR systems, without sacrificing too much in terms of image quality. One way that's achievable is thanks to the excellent lenses that we have available to us in the system. While not new to the m43 system, I've recently taken advantage of just how small and compact one can make a m43 kit.

    I've always been a huge motorsport and racing fan, from as far back as I can remember. My father would take me to the race track as a child, and it was a common bond that we shared together. The sense of speed, the smells of racing fuel and rubber, and most importantly, the sound. Just the feeling of having your body and ground shake as you stand next to an open header V8 warming up, it's unreal. Through the years, I've been fortunate enough to make relationships with enough people that I'm afforded the opportunity to go and help out at a handful of races a year. I've been doing this for years now, but only recently starting taking a small bit of m43 kit to the track to document the behind-the-scenes work that goes on with the crew, as they're the people that enable to fans to enjoy this sport. Most recently, I flew down to Atlanta, Georgia for the Petit Le Mans, a 10 hour endurance race consisting of multiple types of cars on track at once.

    Because my primary function is helping the team, I pack a relatively small m43 kit that I can stow in a LowePro ViewPoint CS80 padded case, which gets thrown in my backpack. Despite the small size of the case, I manage to fit a surprising amount of gear in there. My typical race kit consists of an E-M5 II, 9mm f/8 FE, 75mm f/1.8, 42.5mm f/1.7, 25mm f/1.8, two spare batteries, 58mm & 46mm CPL and ND 0.9 filters, a 10,000 mAh rechargeable battery, a USB battery charger, and 6" USB and Lightning cables (for charging camera batteries or my cell phone).

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    LowePro ViewPoint CS80-2 by Ian Menego, on Flickr

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    LowePro ViewPoint CS80-3 by Ian Menego, on Flickr


    This kit simply produces stunning images, and allows me to document some of the work that the full-time crew members do on a typical race weekend. I enjoy doing this, because 95% of the photos taken at a race of pictures of the cars, but I enjoy taking images of the people that enable those cars to get out on track and put on a show for the fans.

    I'm extremely pleased with how my little m43 kit did here, and can't think of another system that could deliver these kind of results, while being able to fit in the small case that my m43 gear traveled in. In my opinion, this is a perfect example of the benefit m43 has as a system. Here are some shots with my m43 kit from last weekend at the track, enjoy.


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    PA050420 by Ian Menego, on Flickr

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    PA050524 by Ian Menego, on Flickr

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    PA071847 by Ian Menego, on Flickr

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    PA060729 by Ian Menego, on Flickr

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    PA061106 by Ian Menego, on Flickr

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    PA060973 by Ian Menego, on Flickr

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    PA060949 by Ian Menego, on Flickr

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    PA050563 by Ian Menego, on Flickr

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    PA050601 by Ian Menego, on Flickr

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    PA050581 by Ian Menego, on Flickr

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    PA060915 by Ian Menego, on Flickr

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    PA061037 by Ian Menego, on Flickr

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    PA071358 by Ian Menego, on Flickr

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    PA071523 by Ian Menego, on Flickr

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    PA071540 by Ian Menego, on Flickr

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    PA071754 by Ian Menego, on Flickr
     
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  14. A How-To Guide to using Adapted Lenses on Micro Four Thirds Cameras

    <a href="http://www.flickr.com/photos/55915417@N08/5519181755/" title="Canon500D-IMG_3418-PPR Olympus Pen E-P1 Micro Four Thirds 4/3 - Camera Porn by Lucky.penguin, on Flickr">
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    "640" height="426" border="0" alt="Canon500D-IMG_3418-PPR Olympus Pen E-P1 Micro Four Thirds 4/3 - Camera Porn"></a>
    Olympus Pen E-P1 + Olympus OM Zuiko 50mm f1.4

    This is a basic guide on how to adapt non-native lenses to Micro Four Thirds camera bodies. It is intended to answer some of the most commonly asked questions on the forum relating to the use of adapted lenses.


    1) Why use adapted lenses?

    Why not? This question is probably outside the scope of this thread, which was created based on the assumption that you are interested in trying adapted lenses on your Micro Four Thirds camera. If I was to provide one reason for adapting lenses it is to be able to shoot using classic lenses with all the convenience of a modern digital camera body.


    2) What adapted lenses to use?

    I'm not going to go into brands here - everyone tends to have their own favourites. If you're looking for some ideas you can try here: Adapted Lens Sample Image Archive

    The important things to look for in selecting what lenses to use is that, a) they will physically fit on a Micro Four Thirds camera, b) they produce a sufficiently large image circle, and c) there exists a commercially available adapter for that type of lens.

    Essentially any lens from an older full-frame or half-frame SLR, Rangefinder, or (only just!) 16mm Cine camera is fair game, as long as it meets criteria c) above.

    <a href="http://www.flickr.com/photos/55915417@N08/5243297171/" title="IMG_5943 Canon nFD 24mm f2.8 by Lucky.penguin, on Flickr">https://farm6.static.flickr.com/5050/5243297171_d356309ec6_z_d.jpg" border="0" alt="IMG_5943 Canon nFD 24mm f2.8" /></a>
    Canon new FD 24mm f2.8


    [B]3) Can you use modern electronically controlled lenses?[/B]

    Yes, but because the adapters are a physical mount only you will lose any electronically controlled functions such as autofocus, lens-based image stabilisation, and often aperture control as well. Using the example of Canon EF and EFS lenses, you will only be able to shoot with them at their largest aperture, which negates the usefulness of using these otherwise excellent lenses. There is a method to override the aperture setting and get it to stay stopped-down when not mounted on the camera, but it involves using a Canon DSLR body. This begs the question, why not just leave it on the Canon in the first place? So the answer to this question is definitely yes, but is it practical? I'll leave that for you to decide.

    [ATTACH=full]164968[/ATTACH]"640" border="0" alt="Photobucket">
    Panasonic Lumix GH1 + Canon EFS 17-55mm f2.8

    The exceptions are the Olympus Zuiko, Panasonic, Leica, and Sigma Four Thirds SLR lenses. By using the Olympus MMF-1, MMF-2, or Panasonic DMW-MA1 adapters, full electronic control is maintained between the lens and camera body. Bear in mind though that not all Four Thirds lenses are optimised for contrast-detect autofocus so the focus speed may be significantly impaired. Also, the first generation Panasonic bodies (G1, GH1, and GF1) will not autofocus with the non-CDAF optimised Four Thirds lenses.

    <a href="http://www.flickr.com/photos/55915417@N08/5410379888/" title="IMG_6125 Olympus Pen E-P1 Micro 4/3 by Lucky.penguin, on Flickr">[ATTACH=full]164969[/ATTACH]"640" height="480" border="0" alt="IMG_6125 Olympus Pen E-P1 Micro 4/3"></a>
    Olympus Pen E-P1 + Olympus Zuiko 35mm f3.5 Macro

    A list of Four Thirds lenses optimised for CDAF can be found [url=http://www.olympus.co.jp/en/support/imsg/digicamera/compati/di004043e.cfm]here[/url]


    [B]4) Where to source adapted lenses?[/B]

    Try online trading sites like eBay or other regional equivalents, camera shops, pawnbrokers, garage sales, swap meets, even the [URL="https://www.mu-43.com/f17/"]Member Buy, Sell & Trade[/URL] section of this website. Prices and condition of lenses vary wildly. Do your research and decide how much you want to pay.


    [B]5) What adapters to use?[/B]

    Browse through sites like eBay and Amazon and you will find a large variety of adapters at an equally large range of prices. To an extent you get what you pay for, but you have to decide whether it is worth purchasing a $100+ adapter just to fit what might be a $20 lens. The cheaper adapters generally work fine but there can be the occasional issue of loose fit where it mounts to the lens. See the following link for a guide to fixing loose lens adapter mounts.

    [URL="https://www.mu-43.com/f40/problems-loose-lens-adapters-8779/"]https://www.mu-43.com/f40/problems-loose-lens-adapters-8779/[/URL]

    It is also common for the cheaper adapters to be built deliberately short to ensure infinity focus. This leads to the rather odd phenomenon of the lens focusing "beyond inifinity" at the longest focus distance. This is not a major issue, but something you need to adjust for and be aware of. The more expensive adapters should have tighter manufacturing tolerances and not display the same issue.

    It is possible to use two "stacked adapters" if you don't have a single Micro Four Thirds adapter. See examples below;

    [ATTACH=full]164970[/ATTACH]"640" border="0" alt="Photobucket">
    Olympus MMF-2 adapter + 4/3-OM adapter


    <a href="http://www.flickr.com/photos/55915417@N08/5392919466/" title="IMG_6098 Olympus Pen E-P1 Micro 4/3 Legacy Lens by Lucky.penguin, on Flickr">[ATTACH=full]164971[/ATTACH]"640" border="0" alt="IMG_6098 Olympus Pen E-P1 Micro 4/3 Legacy Lens" /></a>
    Exploded view of a stacked MMF-1 + 4/3-OM adapter


    [B]6) Do I need an adapter for each lens?[/B]

    No, not if all your lens share the same mount, but if it makes it easier for you then by all means go for it. This has the added benefit of not wearing out the mount between the lens and adapter, which may cause the mount to loosen up on the cheaper adapters.

    [ATTACH=full]164972[/ATTACH]"640" border="0" alt="Photobucket">
    m4/3-Canon FD adapter + Canon new FD 35mm f2


    [B]7) What to do when the adapter arrives?[/B]

    Check for any loose screws or any metal burrs that have not been removed in the assembly process. You don't want anything loose coming off and finding it's way inside the camera or lens.


    [B]8) Any special tricks with mounting lenses?[/B]

    Most adapters are straightfoward bayonet mounts or screw mounts and the lens attaches in the same way as it would if you were mounting it on the original camera. One notable exception is the Canon FD mount. The adapters for Canon FD lenses have a ring with an "open" and a "lock" position. The lens must be mounted and dismounted in the "open" position, but set to "lock" once the lens is attached so that the aperture ring on the lens is engaged.

    The aperture open/lock ring is shown in the following image;

    [ATTACH=full]164973[/ATTACH]"640" border="0" alt="Photobucket">
    m4/3-Canon FD adapter

    Of course the camera-side mount of an adapter is physically identical to the native Micro Four Thirds lenses (minus the electrical contacts) and attach to the camera in the same way. The adapter should be just as easy to mount onto the camera as a native lens. Don't risk breaking your expensive camera for the sake of trying to force on a poorly constructed adapter.

    [ATTACH=full]164974[/ATTACH]"640" border="0" alt="Photobucket">
    Rear camera-side monts of a m4/3-Canon EF adapter and Olympus M Zuiko 17mm f2.8


    [B]9) What camera settings?[/B]

    Olympus cameras will automatically shoot with adapted lenses. For Panasonic cameras you will need to delve into the menus and set "Shoot w/o lens" to "On". This can be set permanently - there is no real reason to set if back to "Off" when you remove the adapted lens.

    [ATTACH=full]164975[/ATTACH]"640" border="0" alt="Photobucket">
    Panasonic Lumix GH1 menu

    You can shoot with adapted lenses in all available modes, except for the Panasonic "iA" mode (this is true for the G1, GF1, and GH1 at least). In any mode other than 'M' or 'S' the camera will still meter and select the exposure for you. Regardless of mode you will always need to set the aperture value manually on the lens itself (with the exception of Four Thirds lenses which are controlled in the same manner as native Micro Four Thirds lenses).

    Olympus cameras are well-suited to using adapted lenses as their image stabilisation (IS) is sensor mounted, however for this to be effective you will need to set the focal length of the adapted lens in the menus. Don't apply any crop factors: if the lens is 24mm then set the IS to 24mm. And what if your adapted lens is a zoom? I don't know exactly. My assumption is that if you set it to the smallest focal length it will be most effective at wide angle but less so at the telephoto setting. Conversely if it is set to the highest value it will over-correct at wide-angle. My only advice is to experiment and use whatever you find works best, or turn the IS off and do it like we used to in the old days :wink:

    [ATTACH=full]164976[/ATTACH]"640" border="0" alt="Photobucket">
    Olympus Pen E-P1 menu


    [B]10) Automatic lens functions?[/B]

    All manual, baby! Aperture setting and focus is all up to you. The magnified MF assist view available in all Micro 4/3 cameras can be used to assist with critical focusing.


    [B]11) Performance issues?[/B]

    This is a tricky subject. You are dealing with lenses that might be decades old and in less than perfect condition. They might have been dropped, scratched, have fungus, etc. They were also never designed for digital and won't have the same sophisticated coatings as modern lenses. Even with a lens in perfect condition some common image quality problems are flare and a lack of contrast.

    There are a number of issues that may cause these two problems but the easiest solution is to use a lens hood. The original lens hood may not be sufficient as in the case of SLR lenses the hood was designed to work with a film negative twice as big as the Micro Four Thirds sensor. On a Micro Four Thirds camera you can use a larger hood than the original. Screw-in hoods are readily available and can be had quite cheaply. As long as they don't project forward enough to cause vignetting you may be able to use them on multiple lenses which share the same filter thread diameter.

    <a href="http://www.flickr.com/photos/55915417@N08/5447470317/" title="IMG_3250-PP Olympus Pen E-P1 Micro 4/3 by Lucky.penguin, on Flickr">[ATTACH=full]164977[/ATTACH]"640" height="426" border="0" alt="IMG_3250-PP Olympus Pen E-P1 Micro 4/3" /></a>
    Olympus Pen E-P1 + Sirius OM 28mm f2.8 with screw-in lens hood

    Some other methods to reduce the quantity of excess light reaching the sensor are to use step-down rings on the front of the lens, devise a baffle over the rear element, or apply a non-reflective coating to the inside of the adapter. These methods range from simple to more advanced so don't attempt anything you don't feel comfortable with. I believe a hood is the best practical solution, if not the most space efficient.

    [ATTACH=full]164978[/ATTACH]"640" border="0" alt="Photobucket">
    Canon new FD 50mm f1.4 with 52-37mm step-down ring

    When using automatic metering you may find that the exposure is slightly out in either direction, and this is more likely to happen when using smaller apertures. Remember that the lens is operating in stop-down mode such that selecting a smaller aperture is instantly reducing the transimssion of light to the lens and sensor, which may cause metering accuracy to suffer. If your lens has a metering issue like this you can adjust the exposure compensation until the screen image looks correct or to use a histogram overlay for assistance.

    Operating with the lens stopped-down may also mean that at smaller apertures and in lower light the LCD screen or viewfinder will struggle display the scene properly and turn into a dark, grainy mess. A way around this is to focus and compose with the aperture wide-open and then stop it down prior to taking the image.


    [B]12) What if you're not getting acceptable image quality?[/B]

    It could be that over time your lens has developed an "issue". It could be that your lens was never very good to begin with. It could be that you manual focusing technique needs work. Eliminate yourself as the problem first before blaming the lens. Trying using the magnified MF assist view to help, and practise, practise, practise!

    Above all, have fun and go and make some great images with your adapted lenses!

    [B]13) Are the old lenses any good (aka should I bother trying them)?[/B]

    A lot of my reason for using manual lenses is that they provide a far more tactile experience than using a modern, all-singing, all-dancing auto-everything lens. You have to work harder for your shot which makes a good result all the more satisfying. At the end of the day though, if these older lenses weren't capable of taking great images I wouldn't use them. For some example images from my favourite older MF lenses please follow the links below.


    [url=http://www.flickr.com/photos/nicprins/5220376567/][ATTACH=full]164979[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6964037231/][ATTACH=full]164980[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6237113495/][ATTACH=full]164981[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6120152434/][ATTACH=full]164982[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5921523245/][ATTACH=full]164983[/ATTACH][/url]

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    [url=http://www.flickr.com/photos/nicprins/6143538392/][ATTACH=full]164987[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6041010382/][ATTACH=full]164988[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5718066419/][ATTACH=full]164989[/ATTACH][/url]

    [url=http://www.flickr.com/photos/nicprins/5189165639/][ATTACH=full]164990[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5229255942/][ATTACH=full]164991[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5921524585/][ATTACH=full]164992[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5745591403/][ATTACH=full]164993[/ATTACH][/url]

    [url=http://www.flickr.com/photos/nicprins/5171125187/][ATTACH=full]164994[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5395194311/][ATTACH=full]164995[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5706790278/][ATTACH=full]164996[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6754089487/][ATTACH=full]164997[/ATTACH][/url]

    [url=http://www.flickr.com/photos/nicprins/5693167658/][ATTACH=full]164998[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6651427299/][ATTACH=full]164999[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6035103174/][ATTACH=full]165000[/ATTACH][/url]

    [url=http://www.flickr.com/photos/nicprins/6815274902/][ATTACH=full]165001[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6143280891/][ATTACH=full]165002[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6759486025/][ATTACH=full]165003[/ATTACH][/url]

    [url=http://www.flickr.com/photos/nicprins/6199729799/][ATTACH=full]165004[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/6880106267/][ATTACH=full]165005[/ATTACH][/url] [url=http://www.flickr.com/photos/nicprins/5171126799/][ATTACH=full]165006[/ATTACH][/url]


    [B]In conclusion...[/B]

    This guide should hopefully have helped to answer some of the most commonly asked questions about how to adapt non-native lenses to Micro Four Thirds cameras. As noted it was not intended to provide an exhaustive list of all the possible lens and adapter combinations available, nor every particular idiosyncrasy that they may exhibit. If you have any helpful advice related to adapting lenses then please feel free to add it to this thread. You may have a favourite brand of adapter, a least favourite brand, or other issues that you've encountered and how you solved them (if it all).
     
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  15. Alpha Whiskey Photography

    Alpha Whiskey Photography Mu-43 Top Veteran

    568
    Sep 5, 2013
    And now for something a little different.

    This will either invite complete ridicule or slightly less than complete ridicule but it sure was fun to do. Inspired by the work of Felix Hernandez, who is known for creating realistic scenes from miniature models, my friends and I decided to have a go, albeit with more meagre and makeshift resources. And arguably this is as much about processing as it is about photography but there don’t seem to be many people doing this kind of work with scale or die cast models. And while our results were nowhere near the vicinity of being anything like Mr Hernandez’s works of art I was sufficiently intrigued to try.

    Thus one evening we set up a makeshift studio with some lamps, blue canvas for a background and tin foil wrapped around cardboard for reflectors. To soften the light and avoid shadows the lamps were covered in material from that sheath your laptop came wrapped in (told you it was makeshift). We used flour for snow or breadcrumbs for gravel.

    We started off with fairly easy shots, cars in the snow and in a blizzard; completely unoriginal but I figure I have to learn to walk before I fly. Sieved flour in front of a small fan created the blizzard effect. The Icelandic scenes in the background were taken from my own archives and added in post. Headlights were added in post too.

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    Then we had a little more to drink and decided to get a little sillier.

    Alas we can’t go back to the 1980s, the greatest decade in the history of the world, so we tried to bring the 80s to us. We decided to ask the Knight Industries Two Thousand (KITT) to turbo boost over the A-Team van, both scale models. We hung KITT over the van and used several practical effects: an e-cigarette provided smoke, exhaust trails and dust clouds, a birthday cake sparkler gave us bullet impacts on KITT’s body while oats became visible flying gravel. We shot the scene from two different angles. Each effect was shot separately and then blended together as desired using layers in Photoshop. A sky background was added from my archives.

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    For these shots below the e-cigarette wasn’t giving us the right smoky texture so I inhaled an entire Cuban cigar and placed a small LED light near the driver’s cabin to create some beams.

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    Then we had yet more to drink and decided to be a little more ambitious, using smaller models to create Hollywood style action scenes. I initially used a firestorm action in Photoshop that I found online, but it was buggy so I pillaged sections from an exploding galaxy and used that instead. Heck, even Mr Hernandez used an image of a shooting star for a headlight so I haven’t wandered that far off the reservation.

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    Finally, we decided to blow up the world’s most indestructible car. We hung KITT upside down with the detached sunroof sections hanging with thin black wires that could be removed in post. We used the sparkler again on the body, and to get flames coming out of the boot and bonnet we used lighter fluid and an aerosol spray (don’t try that at home kids). We placed thin skewer sticks to mark the position of the bonnet, cabin and boot and then removed the car so we so spray the flames at those locations. Alas, the results just weren’t what we were looking for when merged with the car (the positions were right but the flames weren’t) so the exploding galaxy was re-hired. Not very realistic, of course, but I like it and was pained to let our effort go to waste.

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    (using the sparkler on the body. It's completely harmless)
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    Everything here was shot with the Olympus 12-40mm F/2.8.

    I’ll be the first to admit (and you can see here) my post processing skills aren’t that great and I don’t enjoy spending a long time at a computer (my sympathies for those with desk jobs). Any criticisms or observations you may make will undoubtedly be spot on. But life is short and rather than be tethered to one genre I’m also willing to try new things and gave this subject a shot, so to speak. Feel free to point the finger of ridicule but you’ll have to take a number and get in line. Worst-case scenario a couple of friends had a fun nostalgia trip playing with toys; best case we created something a little different. Maybe if we get drunk enough again we’ll try some more. I’m sure Airwolf is hovering over Street Hawk around here somewhere….

    See the video here
     
    Last edited: Apr 10, 2018
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  16. Robert Evangelista

    Robert Evangelista Mu-43 Veteran

    217
    Jun 19, 2016
    Kuala Lumpur Malaysia
    Robert Evangelista
    Weekend Photography: Olympus 75mm 1.8 - Satisfaction Guaranteed!

    Since I started using Micro Four Thirds. I am on the hunt for the best lens.
    And it was early that I found that the 75mm is one of the systems best lens.
    For my kind of Photography it is the best.

    I always see interesting subjects and composition on the longer focal length.
    I am poor in seeing composition on Wide angles.
    As a result I gravitate towards longer focal lengths.

    If you are the same way... You should try the 75mm 1.8

    What I like about this lens

    1.) Proportions of the Subject are much closer to what the eye can see.
    2.) Backgrounds are Compressed (See less of the background)
    3.) Sharp
    4.) Pleasant rendering of the background blur
    5.) Amazing Build Quality
    6.) Shooting towards the light source generates dreamy effect without the Lens Flares.
    7.) Babies love it

    Things to Note
    1.) This lens requires large spaces to work on.
    2.) Well ballanced even for smaller bodies like Pen series
    3.) Pricey (But worth it)
    4.) Not Weather sealed (Does not bother me)
    5.) Better get that Hood.

    P5110024   75 mm1-80 sec at f - 2.8 ISO 800.jpg
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    Last edited: Aug 12, 2018
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  17. Kachemak Bay, in southern Cook Inlet, is the northernmost range of Americas hummingbirds. We live on the southern (roadless) side of the bay, and I met my first hummers there last spring.
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    They arrive in early May and the males soon begin to establish their territories. As mid-May draws near, the males become more aggressive, and spend much time displaying and chasing other males off.
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    This is the prize--a female Rufous hummingbird, and this one has just had a meal of nectar from our feeder.
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    In Alaska, feeders are the common method of attracting these birds, and nothing is better to set up on for the photographer. You can see the red color of the feeder reflected in the far wing.
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    IMHO, hummers are not the hardest of birds to photograph. If patient, you can pre-focus and wait for a shot as they hover while feeding. If you're both fast and lucky you can get an incoming shot, but it won't happen every day!
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    Hummingbird plumage has a sheen which varies surprisingly with direction changes, especially in good lighting. Here's a male Rufous sitting on a spruce branch.
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    Here's the same bird on the same branch soon after.
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    Unlike the techniques I use for larger birds--CAF L so my EM1 both focuses and meters between shots, when photographing hummers I pre-focus, and shoot CAF H. I already know the distance (focus) and light so the higher rate of CAF H produces more keepers.
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    Hummingbird shooting is an all-too-brief part of my spring. In late May we leave our Kachemak Bay home and head to western Alaska in quest of the large salmon runs which earn us our bread and butter. When we return in the fall, the feisty little birds have already flown south and we see no more of them for the next eight months. But we look forward to their return.
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    Last edited: Dec 21, 2017
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  18. Nam-in-Sonoma

    Nam-in-Sonoma Mu-43 Top Veteran Subscribing Member

    642
    Aug 23, 2012
    Penngrove, CA
    Nam
    Firefalls is a nick name given to the Horsetail falls phenomenon that take place during about the last two weeks of February when all conditions are united...good amount of snow in December-January, Warm February so the snow can melt to form the Horsetail falls which is dry most of the time and finally no clouds to obstruct sunset.

    This was on my bucket list for a long time but lately California was in a drought so no snow nor water falls...however this year we got tons of snow, if you remembered my previous post post Yosemite National Park in Winter.

    Last Saturday with a few friends we went in hope to catch it...Boy we were lucky, all perfect condition.

    [1] A wide view

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    Horsetail Falls by Nam Ing, on Flickr

    [2] With the water flowing so strong that time to time a mist would form and will fly up and caught this the day before Valentine's Day

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    Horsetail Falls by Nam Ing, on Flickr

    [3] The next morning we got great sunrise

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    Valentine&#x27;s Sunrise by Nam Ing, on Flickr

    [4] Went down to the Valley for this famous view of El Capitan

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    El Cap from the Meadow by Nam Ing, on Flickr

    [5] Panorama of Yosemite Falls and North Dome...you can see the Upper, Middle and Lower Yosemite Falls all aligned.

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    Panorama of Yosemite Falls and the Meadow by Nam Ing, on Flickr

    [6] Close up view of the Falls

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    Yosemite Falls by Nam Ing, on Flickr

    [7] As a treat my Afternoon Sunrise :) 

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    Afternoon-Sunrise by Nam Ing, on Flickr
     
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  19. I took a short hike through the Twisted Forest. It is located on the northern flank of Cedar Breaks National Monument and it lies in the Ashdown Gorge Wilderness Area. Most of the trees are Bristlecone pine trees (Pinus longaeva), one of the oldest living things on earth. All were shot in RAW, and all but 2 or 3 were shot with the 12-100 on an E-M 1 II. I like how a few came out in black and white, so I gave them all a similar treatment in Nik Silver Efex Pro 2. I rarely process a photo in B & W and then again in color, but I did so on all of these.

    The hike is about 1/2 mile to the edge, but it starts at 9750' and ends at 10,000' and it is all on marble sized round gravel. I was very jealous of Jasper and Ziva's 4 wheel drive.

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    EM123088-Edit-1 by Harvey Richards, on Flickr

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    EM123142-Edit-1 by Harvey Richards, on Flickr

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    EM123091-Edit-1 by Harvey Richards, on Flickr

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    EM123077-Edit-1 by Harvey Richards, on Flickr

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    EM123069-Edit-1 by Harvey Richards, on Flickr

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    Tied Up Like Dogs by Harvey Richards, on Flickr

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    EM123099-Edit-1 by Harvey Richards, on Flickr

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    Nine Shot Vertical Panorama by Harvey Richards, on Flickr



    More black and whites here: The Twisted Forest in B&W

    And all the photos here: The Twisted Forest
     
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  20. alipapa70

    alipapa70 Mu-43 Regular

    33
    Jan 26, 2010
    Germany
    No pp. Just straight out of the cam jpegs!

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