The lens road plan that OM Digital Solutions has just revised may come as a pleasant surprise to macro photographers as a result of the new improvements that have been included in it. They also recently purchased a Linear PCM sound recorder, which is an addition to the previous point.
The ill-informed internet doom-sayers and fear-mongers who predicted the ruin of OM Digital Solutions (OMDS) when it broke away from Olympus have always made me laugh, and to this day, they continue to make me laugh.
YouTube films that are labelled negatively will, without a doubt, draw viewers because there are just too many people in the world who take joy in spreading unhappiness about others, and more viewers mean more money for the person who created the video.
They were, without a doubt, acting in a manner that was inappropriate. This firm is growing, and in order to keep up with their demand, they have some wonderful new horse equipment that has been pouring out of their stable. OMDS has been paying attention to the needs and wants of its customers and is making efforts to meet their requirements. Now, the firm has made the announcement that it will be making two new products available, both of which will further strengthen its position in the market.
The crop factor that is available in macro photography is one of the reasons why people have been drawn to the Micro Four Thirds standard from the beginning. Photographers with an extraordinary amount of ability, such as Geraint Radford and Ethan Beckler, make use of this technique.
The armoury of OM Systems already had two macro lenses: the 30 mm f/3.5 Macro and the highly respected 60 mm f/2.8 Macro prime lenses. Both of these lenses have a focal ratio of f/3.5. These two lenses had the same focal ratio of f/3.5 throughout the board.
On the other hand, professional macro lenses did not become accessible until very recently. As a direct consequence of this, they have decided to broaden their product offering by introducing a brand new macro lens known as the ED 90mm F3.5 Macro IS PRO.
In the event that you are not familiar with the word, I will now provide a concise explanation of macro photography. True macro photography requires the subject of the shot to be the same size as the sensor of the camera when it is used to capture the picture.
For illustration purposes, if you were to take a photograph of an elephant in its natural habitat, the image that would be recorded on the sensor would be a lot smaller than the elephant itself.
If you move closer to it and take a picture of only its tusk, the picture will have more detail, but it will still have less detail than if you had taken the picture from a further distance. This is an extreme close-up image of the tusk, and it would appear like this if you came in so close that a little rectangle of the tusk was directly put on the sensor. This would be considered a real 1:1 macro photo. It is not recommended that you try to carry out this experiment with elephants due to the fact that they are such stubborn beasts.
A significant number of the lenses that are sold with the label “macro lens” lack the ability to produce a magnification ratio of 1:1. They are only capable of producing an image that is either one-half, one-third, or one-fourth the size of the original, which is denoted by the ratios 1:2, 1:3, and 1:4, respectively.
The brand-new telephoto lens, on the other hand, has a magnification of two times, which may also be expressed as a ratio of two to one. As a direct consequence of this, the magnification that was formerly 1:1 has been raised to 2:1.
In addition, I am aware that there is an old and highly dull dispute on this subject with tonnes of comments elsewhere; the two-times crop factor virtually doubles the magnification once more when compared with full-frame cameras. I find this argument to be incredibly boring. This is something that is not unknown to me at all. When contrasted with a lens designed for a full-frame camera that has the same focal length, this one has an effective magnification ratio that is four times greater.
When we look through this lens, what kinds of things might we anticipate seeing? To begin, because it is a part of the PRO line-up of the OM-System, not only will it have the superior image quality that is expected of any high-end lens, but it will also comply to their unrivalled IP53 splash and dustproof standards. This is an advantage over any other high-end lens on the market. Those who take their cameras outside regardless of the climate or whether or not it is raining always need to keep this in mind.
In addition to that, it will have image stabilisation built directly into the lens, which, when combined with the image stabilisation that is already incorporated into the camera, should produce the best possible results (IBIS). With the OM-1, we were able to achieve seven stops of image stabilisation even while utilising unstabilized glass in our lenses.
Consequently, it will be exciting to watch the number of additional stops that may be attained by utilising this lens. This is something that will make the experience much more intriguing. When utilising a handled OM system camera, it is already feasible to perform focus stacking in-camera. Therefore, this additional stabilisation ought to provide macro photographers with a higher degree of options in order to accommodate their needs.
Because it is a telephoto lens, it will not be necessary to go nearly as close to the subject in order to achieve the 1:1 or 2:1 magnification. This will be possible because the lens has a longer focal length.
We should also be able to anticipate that the lens will have a build that is composed entirely of metal unless OM-System decides to adopt the carbon fibre reinforced plastic seen in its most advanced M.ZUIKO DIGITAL ED 150-400mm F4.5 TC1.25x IS PRO model instead. In this case, we would not be able to anticipate that the lens would have a build.
In any event, the lens will be much smaller and lighter in weight compared to the equivalent lenses on other systems, making it a fantastic option for macro work that demands a high degree of mobility.
In addition to that, it is a prime telephoto lens, which is something that absolutely cannot be ignored in any circumstance. It will have a field of vision that is similar to that of a 35mm camera that has a focal length of 180mm.
There are some kinds of animal photography, abstract photography, and telephoto landscape photography that all benefit greatly from using a focal length like that.
Along with the release of this new lens, OM System has also revealed its revised lens roadmap. This document offers a summary of all of the company’s current and future products and services and can be seen here. This points to the release of two new telephoto zoom lenses, maybe in the range of 50-200 millimetres, which is something I am looking forward to seeing in the not-too-distant future.
A Professional Recording Device Called the LS-P5
If you have ever shot a video with your camera or smartphone, you are aware that the picture quality is not as important to your audience as the sound quality is. This is because your audience is more interested in hearing what you have to say.
You won’t want to view a video more than once, and you won’t want to watch it again if the sound quality is poor. The great majority of the time, though, viewers will have to make do with a picture that is just slightly less than ideal. In instances like this, having a digital recorder available to take notes with is helpful.
My go-to camera for photography over the past five years has been the Olympus LS-P4, which is no longer manufactured but served as the precursor to the OM SYSTEM LS-P5 and is presently out of production. It is a useful small device that is not too huge, and it offers a lot of variety and portability all in one convenient package. The quality of the sound that is captured on my camera is greatly elevated to a higher standard if I combine the recording of sound and video.
In the past, in order to produce high-quality sound, large equipment was necessary. The technology available today, on the other hand, makes it conceivable to capture audio of broadcast quality on a device that is just marginally bigger than the first two fingers on my hand.
Recordings may be made with a bit depth of 24 and a frequency of up to 96 kilohertz, making them superior to what can be obtained from a CD. Not only do I use it while I am filming films, but it is also really beneficial when I am doing interviews since it generates results that are much, much clearer than those that I can obtain with my smartphone. I use it both while I am filming videos and when I am conducting interviews.
The LS-P5, which is the most current technical development, is an addition of even more capabilities to a device that was already jam-packed with all kinds of useful features.
It has three microphones, one of which can capture only what is in front of you at any one instant from a broad angle. In addition to having a high degree of sensitivity, the microphone has the potential to capture sound pressure levels of up to 125 decibels (dB).
This suggests that you should be able to record with it while attending a rock concert or while operating a pneumatic drill without the recording getting distorted. 125 decibels (dB), which is measured in decibels, is the point at which the human ear begins to experience discomfort. It possesses a sensitivity that enables it to record even the most delicate of utterances, such as a whisper.
The fact that the device has a Bluetooth connection means that it is compatible with wireless headphones and can be used to listen to music wirelessly. This enables you to monitor what the LS-P5 hears wirelessly while it is recording, and it can do so from a distance of up to 10 metres (32 feet) away from the device.
You may achieve this by establishing a connection between the headphones and the device. At the same time, the LS-P5 is able to link to its very own application for Android or iPhone, which makes it possible to access all of the recorder’s functions from a location that is remote.
The LS-P5, unlike the LS-P4, does not feature a retractable USB-2 connector that may be used to attach it to a computer. This is the primary design difference between the two models, despite the fact that they seem extremely similar to one another.
Instead, it features a connection to a micro-USB port, which may be used to send and receive data. You can also use it to charge the recorder, and in addition to that, the device might potentially function as a microphone for your desk.
The LS-P5, which comes with two AAA batteries that can be recharged, has a power capacity that is twice as high as that of the LS-P4, which only has one battery.
On the opposite end of the device is a line-out socket, which also functions as a headphone socket, and a line-in connector, which enables me to attach an external microphone to the device. Utilizing the line-out connection enables the LS-audio P5s to be included in the video in a manner that is convenient for the user.
This sound recorder is a piece of equipment that is meant to appeal to skilled audiophiles, but it also appeals to audiophiles in general, so it is a good choice for everyone who is interested in sound quality. Because it has a number of automatic modes, which are very much like those found on the vast majority of other cameras, even inexperienced users should have no trouble operating it.
A fresh new Smart Mode has the capability to take in the surrounding environment, make an assessment of it, and then fully automate the process of setting up the device.
Excellent films produced by Gavin Hoey offer a more in-depth look into the inner workings of the OM System LS-P5, which may be viewed on their respective websites.