damianmkv

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Why'd you make me buy the d500 ? Huh ? Why ? :dash2:

Damn, damn and more damn..

Great set, Ian, really atmospheric and good to see more than just the cars :love:
 

ijm5012

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Why'd you make me buy the d500 ? Huh ? Why ? :dash2:

Damn, damn and more damn..

Great set, Ian, really atmospheric and good to see more than just the cars :love:
lol, thanks Damian. BTW, manual focusing on one spot of the track and trying to shoot panning shots of the cars isn't nearly as fun as using the D500's AF-C and getting to pick which keeper you want out of the burst.

The E-M5 II and the prime lenses are great for the "behind the scenes" shots, because as a kit, it's just so small and inconspicuous. However, if I were working the race to cover the event itself, the D500 would've gotten the nod for sure. It's hard to beat what that camera can do with moving subjects.
 
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The E-M5 II and the prime lenses are great for the "behind the scenes" shots, because as a kit, it's just so small and inconspicuous. However, if I were working the race to cover the event itself, the D500 would've gotten the nod for sure. It's hard to beat what that camera can do with moving subjects.
Have you ever tried the E-M1 Mk II for this?
 

ijm5012

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Have you ever tried the E-M1 Mk II for this?
For what, behind the scene shots, or shots of the cars on track?

For behind the scenes, no. The E-M5 II is just a tad bit smaller than the E-M1 II, which makes it easier to pack, so I've never brought the E-M1 II with me.

For cars on track, yes I have, and I've been seriously disappointed with the performance of the E-M1 II. It was hyped up so much over the E-M1, but I just didn't see a big difference in the results compared to the E-M1. Then I made the mistake of renting a D500, and shooting that camera side-by-side with the E-M1 II, the D500 was noticeably better based on the type of shooting I was doing. I liked the D500 so much I bought one and sold off some of my m43 lenses.

The E-M1 II is still a fantastic camera, but I just don't use it the way I had intended to. Fortunately, it's an excellent camera for travel, landscape, and video, which is how I use the camera today.
 
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For what, behind the scene shots, or shots of the cars on track?
Cars on track. The E-M1 mk II has been advertised as a camera designed for moving subjects.

For cars on track, yes I have, and I've been seriously disappointed with the performance of the E-M1 II. It was hyped up so much over the E-M1, but I just didn't see a big difference in the results compared to the E-M1.
That's disappointing...
 

ijm5012

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Cars on track. The E-M1 mk II has been advertised as a camera designed for moving subjects. That's disappointing...

Agreed. There have been a few discussion about it (like here, here, here and here). What I've found is that while the E-M1 II is an improvement over the E-M1, it's not to the level where I hoped it would be based on Olympus' promises. I think its C-AF is fine, until you really start pushing the camera by either using it in lower light, or slowing the shutter speed way down while panning. IMO, it's still a great camera, but just not the great sports camera I was hoping for.
 

JDS

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Your colors are amazing, wonderful work! Racetracks have great colors to start with between the cars, racing suits etc but yours pop so much. Any suggestions on how to get that look?
 

ijm5012

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Your colors are amazing, wonderful work! Racetracks have great colors to start with between the cars, racing suits etc but yours pop so much. Any suggestions on how to get that look?
Thanks for the comment. Regarding the colors, a lot of it was done through adjusting the contrast, clarity, white, and black sliders to crush the blacks and shadows, while raising the whites and highlights. Further tweaking of the saturation and luminance sliders was done on an image-by-image basis.
 

JDS

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Thanks for the comment. Regarding the colors, a lot of it was done through adjusting the contrast, clarity, white, and black sliders to crush the blacks and shadows, while raising the whites and highlights. Further tweaking of the saturation and luminance sliders was done on an image-by-image basis.

Thank you for that information, I'll have to play with these settings. You use it for outstanding effect...
 

damianmkv

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Thats just how the hood is “stored” on the lens when not in use, no ?
 

ac12

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While you may like to sit here and criticize it, I'll just let his body of work speak for itself: here's a link to his portfolio, showcasing some of his motorsport images.

I'd say he knows what he's doing ;)

No argument on his work.
My question was with the backwards hood. Why carry a hood if you are not going to use it?
For me, a backwards hood could get in the way of my supporting hand, and on some lenses, the ability to easily grip the zoom ring.
 

ijm5012

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No argument on his work.
My question was with the backwards hood. Why carry a hood if you are not going to use it?
For me, a backwards hood could get in the way of my supporting hand, and on some lenses, the ability to easily grip the zoom ring.
Dunno. You could certainly contact him and ask if you wish. Maybe he had quickly mounted the lens on his camera and hadn't reversed it yet. Maybe he was trying to get some lens flare in the photo for aesthetic reasons. Maybe he just simply forgot because he was there working, on a hot pit-lane, with cars coming in to and out of their pit boxes, and driving by at 60mph.

I certainly don't know.
 

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