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Do both of these lenses have an aperture ring on the lense?

Great? how to make the update, and what is the firmware #????????????????????????????????????????????????????????????????????????????????????????????????????????????

I used to have both but sold all my olympus stuff to chase bigger sensors. I've returned to the m4/3 system with a used G9 and a new OM 1 on the way. I'll likely get the 12-40 at some point because I have longer focal lengths covered already

Good point on the compression on the 12-100

זהב! תודה!!!

Great at explaining the process. I am taking my notes with me to shoot family fireworks so I have more confidentce with my OM-1 Mark III and added Live Composite to My Favorites menu.

I want to increase the brightness of LCD in Menu Mode. My brightness icon is grayed out. But, I still want to see the actual exposure in the VF and LCD.

I have yet to see a large landscape photo print where people don’t walk right up to it and look at the detail. It’s just so much fun. Film on 35mm apparently gives around 30mpx or so rez. So I think 24mpx and up is plenty. I have shots on 10mpx cameras where I superrezzed several shots to make a 40mpx shot and that was printed 2 storeys tall - and you could see details like the nuts in the structure on the image as you walked next to it going up the stairs. I do think though that a large sensor is key for detail when going up in rez. An old 50mpx MF sensor ( even though it is not nearly a real 4x6) still outresolves a FF 50mpx sensor when you look at a large print - because the demand on the lens is less so it is easier to get details

Still relevant info after all this time..and so is my OLY. :)...thanks Joe..miss your videos .

I really struggle mounting the lens. Can anyone help?

vary good. thk you...

The 75 is rendering the portrait more dramatic and in focus than the 45. It is pulling the viewer closer to the main attraction in the picture by the compression rendered by the lens. I have both and love using the 1,2 in low light, whereas the 75 gives me more freedom as to giving the subject more freedom to forget that the camera is there. Thank you so much for sharing your knowledge.

I bought this lens for my B-Day this year, and yesterday I finally got to use it for a family party, specifically portraits. I was so happy with the results that I actually wanted to watch more reviews just to share in the joys others were having. This lens is so very sharp and versatile! Man-o-man, what an incredible lens!

What's not clear to me is when the couple were photographed. Were the couple part of the initial composite "background" exposure or were they added during the "light painting" stages?

Couldn't leave a mint 75mm for AUD$400...bargain! Will use the 12-40 for my other needs, but could be tempted with the 25/1.2 pro or PanLeica 25/1.4 ii

Glad I found your channel. Though I'll admit, I'm still a bit confused by a few things. Forgive the newbie. I have never really learned to use flash on my E-M5 III and I'm now using it (TTL) from time to time at events and another TTL underwater strobe when I dive. My results are utterly random and wild - even worse above water! I really appreciate your great depth on flash direction and bounce. But there are some much more basic things us newbies need to understand first: 1. Exposure compensation BASICS: When I choose iso, shutter and aperture for the main camera exposure, this will have some effect on the photo even when I use flash. So how does a TTL flash interpret them? Early in your video it sounded like the camera does its thing and the flash simply adds a bunch of light (though I thought the whole point of TTL was that the flash would add exactly enough light to achieve the desired exp. setting specified in camera). You say I should aim for a fairly dark camera exposure and let the flash bring the exposure up to a brighter level. But how does the flash know how much it should add? I assume this where flash compensation comes in? (as you showed very briefly) 2. I have flash exposure compensation in camera, but also on the flash. How do they interact? If the flash comp setting is low in camera, but high on the flash or vice versa, what will the result be? An even more basic TTL Flash tut would be superb for newbies like me, expecially since you're dealing with the OM-D menu like me. Thanks!!

Fuji team would not explain this better. Thank you!

Great video as always. I just got the Godox V860 O for my OMD EM1 Mark III. When I use the flash straight up, the pictures looks still dark, as if my camera didn't take the picture with the flash. What is the proper setting on my flash and in my camera? It seems like the shutter speed isn't synchronized with the flash. Thanks.

You could tell right off the bat without zooming in that your son's jacket looked way crisper with the f1.2

Great video. Thanks for sharing!!

Enormously functional advice, Joe. I frequently warn my friends that I am shooting video. The reaction is hilarious! However, for some time I have wanted to get the hang of the video settings. Your preference for flat focus is very interesting. And of course you can see it in this UA-cam. South African trailmaster his name I forget does get advice on the Boqua shot for 4 shooting himself and individuals.

My primary camera is Pentax K3 and the most used lens is 18-135/3.5-5.6 which is attached most of the time on camera although I have other 20+ lenses that I also use, but only that one is the base. I wanted something similar for my M4/3. I have 14-42/3.5-5.6, 40-150/4-5.6, 75-300, 25/1.4, 45/1.8 etc.. I was looking at 14-150 as a all-in one travell lens, but most reviews pointed out that optically it is nothing special. And then I found nice deal on 12-100/4. Bought it. Well.. it is larger than many APS-C lenses, but once I saw how good it is even wide open on the image edges.. damn. And bokeh is also pleasing, AF is fast, stabilization works well.. only the physical size and weight is a little bit large for M4/3. My cameras are EM5III and EPL-6. But image output is brutal. I would like to have similar 16-135/4 for my APS-C :D

Watching in April 2024. Thanks for this video, exactly what I need to photograph sports.

Thanks for the video. Perhaps it’s also worth mentioning that those that consider to have both the 12-40mm F/2.8 PRO and the 40-150mm F/2.8 PRO iso the “Two-In-One” 12-100mm F/4.0 IS PRO is the compatibility of the 40-150mm F/2.8 PRO with both the MC-14 and MC-20 Teleconverters. That could extend the reach of the 40-150mm to 80-300mm. I choose to buy both lenses in the used lenses market, together with the MC-14. Set me back €1.500. A single 12-100mm F/4.0 would cost me €800. With the MC-14 the range of my MC-14/40-150mm is up to 210mm. Just over double the range of the 12-100mm lens (but no IS).

Something wrong with your 45mm f1.8 shot... i dont know what it is... looks like it didnt get focus on his face. Ive shot portraits with the 45mm f1.8 @f1.8 and I was getting very sharp results.

Excellent!! Thank you!

Having searched the whole web to solve a problem on my viewfinder I have finally found the answer in your video. Many thanks.

The 45mm photos are significantly brighter.

Nice video! Did you just put your 1.2 in your pocket without back cover!!!? ;)

many thanks Joseph very helpful

Thank you! Just got the EM1 III and this was great. But I have a question, is there away to set the power function to a button as opposed to the switch on the top left?

Loved this video as I shoot with a Nikon D850 but thinking about the GFX 50sII or the GFX 100s. My questions are, 47mp (Nikon) vs. 50mp are virtually the same but with a bigger sensor, wouldn't that be a big queasily improvement? And in comparing the Nikon with the 100mp obviously twice the resolution but now add to that a bigger sensor. Does it make sense to go from the Nikon to the 50mp or would that be insignificant a difference vs. going the the 100mp? The other aspect is the processing power needed for the larger files?

It’s a shame this doesnt have chapters now I have my camera in front of me. Thank you for the info.

Oh it makes a difference. I may not see it, but deep down in my heart, the image quality demon whispers: "Your sensor was too small." 😂

Wouldn't it make sense to just buy a second FL-700WR instead of the FC-WR Flash Commander? Ignoring the size and weight of course. Or would the on-camera flash also fire in every case?

This video is also perfectly usable to set up the OM System OM-5 camera!

Ok. I tried fireworks about 6 months ago and it didn't work. User error for sure. So, I am still confused about the steps, You said to take an ambient photo of the kids (base picture), choosing 1 second, BEFORE starting the entire comp process. And, make sure it's exposed properly. Then start live comp and bring up the menu. Choose the shutter speed wanted, but the camera is set for 1 second and the exposure on the kids is correct. Then, in live comp, you select the shutter speed, and you chose 1 second. Was that because the camera is already set the camera for 1 second, and they have to be the same. That means that you knew that 1 second worked with your ISO and f stop before ever going into live comp. Later you say that you set the initial picture, outside of live comp, as the ambient which will be dark. But, the first manual shot had the kids exposed properly. They are part of the ambient exposure. But, no the kicker is that you said the first picture, under the control of live comp, fires a flash, to light up the kids, but they were already properly exposed, which would over expose them.

Very helpful! Thanks to you, and the kids!

The 12-100mm made me switch to Olympus after using Canon for 20 years. I’ve been using APS-C bodies during the entire run, from the original Digital Rebel in 2003, to the 50D and lastly the 70D. There just wasn’t any f/4 all purpose zoom the likes of the 24-105mm for full frame. The only lens available with sharp results and a good focal range is the 15-85mm f/3.5-5.6, a good lens but on a crop body, bokeh would be even worse than f/4 on M43 and f/5.6 on APS-C sensor is not enough for low light. I was forced to use the 24-105mm on the 70D, which translates to a 38-168mm F/4. Pretty awesome range, but on the wide end, I’ve lost a LOT of potentially amazing shots and had to bring in a secondary lens; Tokina 11-16mm f/2.8 to make up for the. wide end.. but still am missing the 16-24mm range (should have waited and bought the 11-20mm f/2.8). I can finally comfortably take just this 12-100mm, a single lens on any adventure around the globe and not have so much extra weight bogging down the pleasure of travel and photography. Photography should be FUN. Olympus has done exactly that with this lens, and am now an owner the E-M1 Mark iii. With the size of m43 lenses, I’ll be adding a Panasonic 9mm f/1.7 that weighs only 130g… less than an iPhone Mini. Great for Ultra Wide and low light. Wish I got into this system when this lens was announced… my portfolio would be so much more diverse.

Very useful material. It confirmed me that I was right to have both; 12-100 excellent in decent light and open space, while 12-40 it helps me for low light and live concerts, especially indoor, as I do not have to rise the ISO value. I was lucky to find an used 12-40 in excellent condition at 460 euros earlier this month, so this could be an option.

Really good tutorial Joe. Your example photos are excellent and informative.

Hello from New York City! at time code 06:30, can the custom menu setting be created and modified using the smartphone mobile app? At time code 19:35, which camera White balance setting is best for using CTO Gelled flash: Auto WB, Incandescent, or custom? Thank you for your informative video.

Thank you for you insight and comparison. I NOT a professional, but was trained by the FBI in evidence, surveillance photography ..but at heart I had my personal camera and when oppertunity and conditions were corrected photographed rail road equipment all over the country. Working we used Nikon and to this day my DSLR are the FF /Nikon D700 a tank and APS C D7100 .In reality have FF and APS C covered ,if needed . I am at a point which is Need v Want . I would like to buy a FF Sony A7 ii v Nikon Z50 .The Sony is older but has IBIS ,but draw back need to spin up glass purchase v Nikon will buy adapter of we go. I find myself loyal to OM Systems and Lumix and have no problems enjoying what I do .However ,as a professional and You Tuber content provider many Content providers stick w/ FF and some APS C I Fully Understand there is an economic motivation and click awareness .I follow a lot of MFT from Robin ,Bob in Maryland etc . Therefore, back to NEED v WANT ( As Americans we burn a hole I. Our pocket $$over want ) viewing your presintation I need to put WANT in a box and stay focused on "My reality " ..Once again many, many thanks and I have saved your You Tube channel !!!!

Adverts totally lost where I was and so never saw the last half of this video.

really great takes in your video, really sold me on the 12-100

Really great tips all conveniently and well organized. Great explanations. Thank you!

Great opening shot!

Bought a used EMD1 Mii for $300. I couldn’t pul the trigger for an EMD5 Miii for ~$500. As you suggested, this body is in many ways a mini EMD1Mii. It is smaller and lighter than the 1 II. I can’t see any reason to spend more for this body vs. what I already own. Love the 12-40mm pro lens. It live on the 1 II. Mask On Nurse Marty (Ret)

Great overview! Of the 3 examples shown here, I feel on-camera flash produced the best balance between subject and foreground, without the fake Rembrandt lighting that the off-camera solution provides. (Why would strong light be coming from off axis in a very dark environment? There's not "sun" to emulate here!) Unless you're in a studio, off-camera lighting can create more weirdness than it solves, despite undeniably adding depth to the subject. I feel like the attitude of fill flash applies here, even at the risk of underexposing the subject.

Maybe you should shoot WITHOUT the intention of cropping. 😊