Photo Of The Day By Kevin King

Photo By Kevin King

Today’s Photo Of The Day is “Where the Waters Flow” by Kevin King. Location: Iceland.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Environmental Vs. Portrait Photography

Your departure day has finally arrived. You’re packed, all your gear is ready, all batteries are charged and your adrenalin is pumping. It’s time to begin your photo safari to do a wildlife shoot of your favorite mammal, bird, predator, macro subject and more. A natural instinct is to grab your longest lens to get that once-in-a-lifetime shot. While it’s true that capturing a full-frame portrait of your favorite subject can produce a winner, does it always provide the best shot?

Conversely, showing too much of the surroundings in which the animal is located can leave the viewer wondering why the image was made. This is a dilemma that every wildlife shooter faces. Should we zoom in to get the headshot and come home with a full-frame portrait or lay off the huge lens and include some of the environment? When it comes to environmental vs. portrait photography, the best of all worlds is to encounter situations where you come home with both types of award-winning images. The key lies in remembering to make sure you take advantage of each and every opportunity rather than concentrate on one or the other. As I’m often heard sharing with all my workshop participants, Exhaust All Possibilities!

The Headshot

A full-frame headshot has long been deemed a trophy image. But to truly meet this criteria, there are many factors that must fall into place. Filling the frame doesn’t automatically raise an image to this elite status. First off, the light needs to be addressed. Is the face well lit or is the light contrasty? Is the face in shadow or does direct light fall upon it? Do distractions exist in the background that direct the viewer’s eye away from the animal? A busy background along with poor light dictate the image is destined for the delete button. Is the face dark and set against a bright background? If so, it will be hard to rescue the image. Conversely, if the face is well lit and set against a dark background, set the motor drive to high and fire away. Does the animal communicate any sort of interesting emotion or does it simply portray a lack of expression? Wait for the subject to do something expressive.

Show The Environment

Rather than fill the frame with just the animal, include some of the terrain or location in which it resides. This establishes a sense of place and educates the viewer. It informs the viewer where and how the subject dwells. Refrain from fully zooming the lens or getting too close. While it feels great that an animal trusts you to get close enough, it may not make the best image. By all means, get in tight and create the headshot as explained above, but learn to back off a bit and go wider. A more common flow of events is to progressively let the animal gravitate closer to you or slowly enter its world to get the headshot.

As mentioned earlier, I like to use the expression, “Exhaust All Possibilities.” This reminds you to use all your focal lengths as opposed to just concentrating on the initial focal length you grab. Many photographers tend to limit themselves to the initial focal length they grab. It will certainly be beneficial for a certain “look,” but will it net the diversity and potential of the variety you set out to capture? So, from this day forward, when it comes to environmental vs. portrait photography when shooting wildlife, be sure to cover every option and focal length. Not only may one prove to have more impact, but it also provides greater potential when it comes time to create a slideshow of your favorite images.

To learn more about this subject, join me on a photo safari to Tanzania. Visit www.russburdenphotography.com to get more information.

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Photo Of The Day By Ross Stone

Photo By Ross Stone

Today’s Photo Of The Day is “Romantic Vista” by Ross Stone.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Zita Quentin

Photo By Zita Quentin

Today’s Photo Of The Day is “Red Foxes” by Zita Quentin. Location: Kodiak, Alaska.

“Three red foxes were playing on the shore,” explains Quentin. “Two of them headed up to these rocks and they both stopped and posed for a second.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Snow And Ice Scenes Assignment Winner Gerry Groeber

Congratulations to Gerry Groeber for winning the recent Snow And Ice Scenes Assignment with the image, “Desert Snow.” See more of Groeber’s photography at www.gerrygroeber.com.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Last Frame: Young Bison Bulls Spar

Photo By Colette Cannataro

“These two young bison bulls suddenly began sparring with each other, giving me sparse time to drop to the ground and capture the action at eye level,” Colette Cannataro recalls. “It was winter in Yellowstone, and they weren’t fighting over anything but merely testing each other’s strength with minimal risk of injury. In late spring, mature bulls compete for real for mating opportunities, with dust flying instead of snow. It was very exciting to witness this ritual of nature and to capture it for others to see as well.”

See more of Colette Cannataro’s work at colettecannataro.com.

Nikon D850, Sigma 150-600mm F5-6.3 DG OS HSM | S at 360mm. Exposure: 1/800 sec., ƒ/6.3, ISO 320.

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Photo Of The Day By Marti Phillips

Photo By Marti Phillips

Today’s Photo Of The Day is “Sunset at White Sands” by Marti Phillips. Location: White Sands National Park, New Mexico.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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14 Images Of Tropical Destinations

Whether you spend the winter in frigid temperatures and knee-deep snow or are just dreaming of your next beach escape, these gorgeous tropical destinations are adored by nature photographers and those who just want maximum relaxation while on vacation. Check out the slideshow below for a quick escape to paradise and find the location information provided by the photographer below each image.

[See image gallery at www.outdoorphotographer.com]

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Canon Introduces 800mm & 1200mm Super Tele Primes

Canon has announced two new super telephoto primes ideal for wildlife and sports photographers, the RF800mm F5.6 L IS USM and RF1200mm F8 L IS USM. The latter is the longest lens yet for Canon’s EOS R mirrorless system, and both lenses are compatible with Canon’s RF1.4x and RF2x extenders for extreme telephoto reach up to an incredible 2400mm with the RF1200mm F8 L IS USM and RF2x.

Canon RF800mm F5.6 L IS USM

The RF800mm F5.6 L IS USM has a minimum focusing distance of 8.53 feet. Built-in image stabilization provides up to 4.5 stops of correction. The lens is 6.4 inches in diameter, 17 inches in length and weighs 6.9 pounds.

Slightly heavier at 7.4 pounds—but remarkably light for a lens of this focal length—the RF1200mm F8 L IS USM has a minimum focusing distance of 14.1 feet and includes optical image stabilization capable of up to 4 stops of correction. The lens is 6.6 inches in diameter and just over 21 inches in length.

Canon RF1200mm F8 L IS USM

Both lenses feature two customizable focus presets that allow you to immediately switch between the preset distances with quick turn of the Playback Ring on the lens barrel. Full-time manual focusing is available, and the lenses support One Shot AF and Servo AF modes with compatible EOS R cameras. You can also limit the focus distance with a 3-mode switch.

The RF800mm F5.6 L IS USM is priced at $16,999 and the RF1200mm F8 L IS USM is priced at $19,999. Availability is expected in late May.

Wildlife photographer and Canon Explorer of Light Charles Glatzer produced this video about his experience with the RF800mm to give you an idea of how it performs in the field.

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Photo Of The Day By Christopher Baker

Photo By Christopher Baker

Today’s Photo Of The Day is “Spear Fishing” by Christopher Baker. Location: Madison, Alabama.

“A great blue heron showing off his breakfast,” describes Baker.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Rick Furmanek

Photo By Rick Furmanek

Today’s Photo Of The Day is “Snowcapped Four Peaks” by Rick Furmanek. Location: Arizona.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Hidden Gems Of Our National Monuments

The designation of “national monument” evokes statues and memorial buildings that do not sound too interesting for landscape photographers. However, in the United States, the term has a different meaning. What you will find among our national monuments are vast lands rivaling the national parks in beauty, diversity, cultural heritage and unique photographic destinations. You will not find crowds, tight regulations or over-photographed views. Get ready for an adventure off the beaten path.

Whitmore Canyon Overlook, morning. Grand Canyon-Parashant National Monument, Arizona.

What Are National Monuments?

Like national parks, national monuments are federally protected areas. They vary in size from less than an acre to surface areas comparable to large U.S. states. They preserve natural or historic features. The main administrative difference is that only Congress can designate a national park, whereas presidents can proclaim a national monument on their own thanks to a 1906 law called the Antiquities Act.

Sixteen presidents have used the Act to preserve some of America’s most treasured public lands and waters. Half of today’s national parks, including Grand Canyon, were first protected as national monuments. In 2017, an unprecedented executive order questioned these designations by calling for the review of 22 national monuments across 11 states, in addition to five marine areas. I spent the next three years endeavoring to photograph those 22 endangered national monuments in depth. For brevity, “national monuments” will refer to those. Here I share some of my findings.

Less Development

The national parks are created for the “benefit and enjoyment of the people.” They are generally equipped with an infrastructure of roads, visitor centers, lodges, campgrounds and interpretive trails. While that makes a visit more convenient, it also brings mass tourism.

For example, Arches National Park is frequently full and closed to new entries by 9 a.m. People instead head to nearby Canyonlands National Park, but even there, securing a spot at sunrise for the iconic Mesa Arch requires arriving well in advance. By contrast, each time I photographed three of the most famous natural arches in nearby Grand Staircase-Escalante National Monument, I had the entire place to myself.

The national monuments are created for conservation. Since 1996, the landscape-sized national monuments have been operated by the Bureau of Lands Management or the U.S. Forest Service instead of the National Park Service. Their development is minimal. Often, facilities are limited to primitive campgrounds and trailheads. Roads can be unpaved, and a 4WD vehicle is recommended, if not necessary.

Bigelow Cholla Garden, sunset. Mojave Trails National Monument, California.

Visiting the national monuments managed by the BLM and USFS can test your preparation and self-sufficiency. Most areas are remote and have no cellphone coverage. You must bring everything you need, including food, water and enough gear to survive a night or two should you have an emergency.

With no visitor centers nor rangers around, no brochures nor guidebooks, the first obstacle in my explorations was to find information. My book, Our National Monuments: America’s Hidden Gems, the first about national monuments, provides you with the starting point I wish I had for planning trips. It includes location information for each photograph, some of which is excerpted in this article.

Smaller Crowds

The more adventurous setting of the national monuments results in much lighter visitation, even though you can often find similar subjects and environments as in the nearby national parks. For example:

• The Sonoran Desert portions included in Ironwood Forest National Monument and Sonoran Desert National Monument are as beautiful and representative as those in Saguaro National Park, if not more pristine.
• California’s densest population of cholla cactus thrives in Bigelow Cholla Garden Wilderness of Mojave Trails National Monument, rather than in the better-known Cholla Cactus Garden of Joshua Tree National Park.
• Despite a dozen visits to Death Valley National Park, I could never find the Mesquite Sand Dunes devoid of numerous footprints from other visitors. At Cadiz Dunes Wilderness in Mojave Trails, I saw many animal tracks but no human footprints aside from my own.
• Vermilion Cliffs National Monument’s Paria Canyon is more than twice as long and every bit as impressive as Zion National Park’s Virgin River Narrows. In a full day of hiking, I saw only a dozen people, whereas it is challenging to photograph the Virgin River Narrows without including other hikers.

Fewer Rules

The heavy visitation of national parks led to strict rules. In Grand Canyon National Park, like in any other national park, no car camping is allowed outside developed campgrounds. In nearby Grand Canyon-Parashant National Monument, I could drive right to the edge of the chasm and pitch my tent a few yards away from where I made my sunset photographs, both at Twin Point on the Upper Rim and Whitmore Overlook on the Lower Rim. That spot offered a much shorter hike to the river than the South Rim. Mount Logan featured a high view of the entire Grand Canyon ecosystem without equivalent in the national park.

Aerial view of Boole Tree. Giant Sequoia National Monument, California.

Giant Sequoia National Monument protects more sequoia groves—almost half of the total number—than Sequoia and Kings National Parks combined. Because it has the largest diameter (36 feet) of any living giant sequoia, the Boole Tree was once considered the largest tree in the world, although it is “only” the sixth largest by volume. Unsightly railings protect the biggest trees in the national parks, but there are no fences around the Boole Tree. Unlike in the national parks, drones are allowed in national monuments. With nobody around to disturb, I sent my drone out in the air at sunrise, capturing the tip of the tree hardly visible from the ground.

Even if the national monuments were only lesser-traveled alternatives to bustling national parks, they would be worthwhile destinations. However, some of the most remarkable nature subjects in North America are in national monuments rather than national parks. Here are a few locations ideally visited in autumn or spring.

Coyote Buttes, Vermilion Cliffs National Monument

“The Wave” in Arizona is known worldwide. Even if the name Vermilion Cliffs National Monument is unfamiliar, you have undoubtedly seen images of the extraordinary rock formation located in Coyote Buttes North. For decades, only 20 permits were issued daily. If you have been trying to win the lottery, take hope in the increase this year to 64 permits. A geologic wonderland of spectacularly colored rock strata, the area protects much more than the Wave.

Sandstone mounds, North Coyote Buttes. Vermilion Cliffs National Monument, Arizona.

Coyote Buttes South has equally amazing slickrock swirls, but the odds of winning a permit are much higher. However, getting to the trailhead requires a high clearance 4WD vehicle. If you have one and did not win a permit, a great alternative is to visit White Pocket. Be sure to obtain the map with the BLM’s recommended route, as others can be very challenging. You can walk across White Pocket in 15 minutes, but that small area is a landscape photographer’s dream. Rocks are incredibly twisted with cauliflower and brain shapes. The unusual white layer after which the entire area was named caps red sandstone, creating great contrasts.

Little Finland, Gold Butte National Monument

A kaleidoscopic and lively desert punctuated by brightly colored rocks and ancient petroglyphs, Gold Butte National Monument protects a huge section of Nevada northeast of Las Vegas. The monument lies at the meeting of the Mojave Desert with the red rocks of the Colorado Plateau. Brightly colored sandstone formations stand out in the vast and rugged desert scenery.

Little Finland, sunset. Gold Butte National Monument, Nevada.

Although small at about 2,000 feet by 500 feet, the Little Finland area houses rock formations unique even in a region—the American Southwest—known for its geology. The erosion process there has resulted in countless gravity-defying, detached thin fins of stone with intricate shapes. The natural sculpture garden reminded me of cave formations. Be sure not to damage the ornate and fragile fins that have taken millions of years to form. They are atop a mesa sloping toward the west and bordered by a tall hill blocking the sunrise on the east, two reasons to photograph the area in late afternoon. Driving to the remote Little Finland area requires a 4WD vehicle.

Zebra Slot Canyon, Grand Staircase-Escalante National Monument

A wild and beautiful country of multicolored slickrock, Grand Staircase-Escalante National Monument in Utah encompasses an area so remote it was the last region in the contiguous United States to have been mapped. Despite its remoteness, some of the unpaved roads in the monument are accessible with a regular car driven carefully. They give access to two of the arches mentioned earlier, Grosvenor Arch off Cottonwood Canyon Road and Metate Arch in Devils Garden off Hole-in-the-Rock Road near Boulder, Utah.

Zebra Slot Canyon, midday. Grand Staircase Escalante National Monument, Utah.

Hole-in-the-Rock Road also leads to numerous slot canyons of diverse character. With its pillars, encrusted Moqui stones and multicolored striations that inspired its name, Zebra is one of the most unique slot canyons I have seen. It is reached via a 5.2-mile (roundtrip) hike starting at mile 7.8. In November, I found it dry, but there might be ankle- to chest-deep standing water at other times. The canyon was so narrow, I could not squeeze in with my camera backpack. I left the pack in a corner, heading out with only a camera and tripod. The latter was necessary because blending several frames focused at different distances was the only way to get everything in focus.

Valley of the Gods, Bears Ears National Monument

Bears Ears National Monument in Utah spans wondrous red rock country. Hidden in its labyrinth of canyons and mesas are more cliff dwellings and tribal artifacts than any other area in the American West. The road descending the Cedar Mesa plateau, called Moki Dugway, is impressive for its precipitous surroundings and 180-degree switchbacks cut into the cliff. The vista from there is immense.

Valley of the Gods, early morning. Bears Ears National Monument, Utah.

A sandy plain dotted with sandstone buttes and spires near Mexican Hat, Utah, Valley of the Gods’ landscape reminded me of Monument Valley. While the rock formations are smaller, Valley of the Gods is free from commercialization, tour groups, streams of cars and heavy regulations. Instead, I found quiet, solitude and freedom to explore. I could come and go as I pleased to catch sunrise and sunset, finding plenty of spots to camp for free. The 17-mile unpaved road is passable by a 2WD car driven carefully.

The Future Of Public Lands

Since 1906, America’s boldest efforts in conservation have been through the establishment of national monuments via presidential proclamation. Grand Staircase-Escalante was the first of the national monuments managed by the BLM, marking the evolution of the nation’s largest land caretaker toward conservation. Bear Ears was the first native-driven and co-managed national monument. Both saw their size drastically reduced by the previous administration.

Many spots in national parks have become icons of our natural and cultural heritage to the point that they have become over-photographed, making it difficult to find original compositions. The national monuments offer new landscapes and natural wonders awaiting exploration. Their often starker and more subtle landscapes invite exploration to get to know and love. Because the natural features are less prominent, it is easier to pay attention to the small details that make up the ecosystem. The absence of postcard views frees you of pre-conceptions that hinder personal discovery. As the national parks become ever more popular, the national monuments’ vast open spaces offer us places of solitude and inspiration.

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See more of QT Luong’s work at terragalleria.com.

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Photo Of The Day By Tim Nicol

Photo By Tim Nicol

Today’s Photo Of The Day is “Whitetail in the Snow” by Tim Nicol. Location: Republic, Washington.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Amy Ames

Photo By Amy Ames

Today’s Photo Of The Day is “Waiting for the Ice” by Amy Ames. Location: Near Churchill, Manitoba.

“A late freeze in Canada this year left many bears waiting for the ice to freeze so they could begin their journey out on the ice,” explains Ames. “I was there as the snow was just beginning to fall and temperatures were dropping, thankfully.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Up Close and Personal, Part 2: The Intimate Landscape

Last week, in part one of this two-part tip, we learned about the grand landscape and how to include foreground, mid-ground and background perspectives in your images. This week’s tip has you use telephoto eyes to pick out narrow sections of the landscape and zero in on a smaller scale.

While many people associate landscapes with wide-angle lenses, it limits the number of potential images and subject matter that may wind up on the hard drive. Rather than take in the entire scene, break it into blocks and study each section. Exhaust All Possibilities and break out the telephoto.

Food for thought: Most wildlife photographers reach for the telephoto when they encounter a beautiful subject to capture the elusive portrait. That being said, a better image could be created if a wide angle was used to show the animal in the environment! The same works with landscapes. The sprawling set of sea stacks or majestic mountains may be bathed in light, but a much narrower section of the landscape may have a single shaft of light that needs to be emphasized. Either way, create as much diversity as possible and exhaust all possibilities. 

As mentioned last week, a number of factors work in unison to conjure up a peaceful landscape. Although there are many, all of them needn’t be included in a single photo. The bottom line is most great landscape images include just a few. With all these factors, it’s a wonder any great scenic image has ever been created. And yes, another few keys to add to the mix are investing time, patience in learning and practice!

Telephoto eyes work differently than wide-angle eyes when it comes to landscapes. Rather than take in the entire scene, narrow your field of view the same way a telephoto lens works, but take it a step further. Don’t just think in vertical or horizontal slices of the scene. Within each slice, look at the top, middle, bottom and edges. Zoom into the area in to which you just zoomed! Rather than look at the forest, note how the light plays on a single tree. Is that tree offset against a dark background so it will stand out based on the illumination? Look at just the reflection of the mountain peak illuminated by sunset light and dramatic clouds in the calm tarn as the sun sets near the horizon. The possibilities are endless.

Shapes In The Intimate Landscape

The image of the black rocks lined up in the sandstone caught my eye as I was looking for a vantage point from which to make a seascape along the Oregon coast. I was climbing the rocks when I looked down and immediately abandoned any thought of making a grand scenic of the coast. The way the rocks fell into place in and amongst the sandstone formations accented by speckles of green seaweed was something special. I worked the area until the shapes of both the rocks and sandstone were perfectly juxtaposed.

Shutter Speed

Slow shutter speeds and moving water are synonymous when it comes to photography because the effect is ballet-like and very peaceful. It’s mostly used with waterfalls. While hiking one of the gorges in Glacier National Park, the trail paralleled a stream, so I constantly walked to the gorge’s edge to note the landforms in the water. I finally found the color, shape, texture and form I wanted. I set my camera on a tripod and made an 8-second exposure.

Framing The Intimate Landscape

The concept of framing is utilized in all aspects of photography, especially in the grand scenic. With framing, you use a part of the environment to create a vignette of some sort around the primary subject. The same way a frame accentuates a photo or painting by drawing the viewer into the center, the framing technique has the photographer find something in the environment that draws the viewer to a specific part of the image area. In the image of the gnarly tree, throughout the photo one limb frames another and the main trunk frames a different tree in the lower-left corner.

Color In The Intimate Landscape

It behooves all photographers to study and become familiar with the color wheel. This is especially true when it comes to complementary and like colors. Like colors produce harmony as they’re adjacent to each other on the wheel, while complementary colors are on opposite sides. It’s essential you become aware of how colors play off each other. In the photo of the two ropes, one is orange and the other is blue. Note how the blue pops off the page in that its opposite is orange. When used in nature photography, it can be very powerful.

Lines And Texture

In the photo of the bristlecone close up on Mount Evans, I walked through the forest to specifically look for shape, lines and texture. Note the use of the classic S-curve in addition to the incorporation of varying textures and wood surfaces. Color and tonality also come into play as the lights play off the darks and vice-versa.

To learn more about this subject, join me on a photo safari to Tanzania. Visit www.russburdenphotography.com to get more information.

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Photo Of The Day By NamHui Anderson

Photo By NamHui Anderson

Today’s Photo Of The Day is “Because of the Lingering Feelings of Time” by NamHui Anderson.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Laura Zirino

Photo By Laura Zirino

Today’s Photo Of The Day is “Perfect Christmas Card” by Laura Zirino. Location: Grand Canyon National Park, Arizona.

“The first snow on the Grand Canyon looks like the perfect Christmas card,” says Zirino.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Denis Dessoliers

Photo By Denis Dessoliers

Today’s Photo Of The Day is “Winter Wonderland” by Denis Dessoliers. Location: Yosemite National Park, California.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Your Best Photo Of 2021 Assignment Winner Linn Smith

Congratulations to Linn Smith for winning the Your Best Photo Of 2021 Assignment with the image, “Jet of Liquid.” See more of Smith’s photography at 500px.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By Jody Partin

Photo By Jody Partin

Today’s Photo Of The Day is “Lolo Pass” by Jody Partin. Location: Idaho.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Yvonne Baur

Photo By Yvonne Baur

Today’s Photo Of The Day is “Wintry Zion” by Yvonne Baur. Location: Zion National Park, Utah.

“I went on a hike up to the West Rim in Zion National Park during inclement weather, hoping to find some snow in the high elevations,” explains Baur. ‘For the most part of my hike, everything was covered in clouds and mist, and it was snowing quite a bit. On my way back, there was a break in the storm and the clouds lifted. I was amazed at what I saw! The whole Zion Canyon was covered in a fresh layer of snow and looked so wonderful. I was more than happy I went and could experience that wonderful moment.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Grand Island National Recreation Area

Grand Island National Recreation Area is located in Michigan’s Upper Peninsula, surrounded by the crystal-clear waters of Lake Superior, about a half-mile offshore from the town of Munising. This 13,500-acre wilderness island is part of the Hiawatha National Forest and features massive sandstone cliffs, just across the lake from its famous neighbor, Pictured Rocks National Lakeshore. Summer visitors arrive by ferry or kayak and enjoy hiking, mountain biking and backpacking. Winter visitors face the daunting and potentially dangerous task of crossing Lake Superior on snowshoes, cross-country skis or snowmobiles to access a wonderland of ice caves and ice curtains that stretch for miles along its rugged shore. 

Weather At Grand Island National Recreation Area

Lake Superior can produce extreme weather that can evolve very quickly. Winter temperatures can range from the upper 20s all the way down to well below zero. Be sure to check local weather reports before making the trek, keeping in mind that the windchill on Lake Superior will feel much colder than the predicted temperatures. In addition to bringing ice cleats for the ice curtains, it’s good to pack hand warmers for thawing your tripod if the icy conditions freeze the locks. Since there are no services of any kind on the island, bring extra layers, emergency gear and food as well as water in an insulated thermos. If the snow is quite deep when you visit, wear snowshoes for the crossing, rent a snowmobile or consider hiring a local guide to transport you.

Photo Experience

The deep cold of a typical Upper Peninsula winter creates spectacular blue-green ice curtains by freezing the water that flows continuously from mineral springs and seeps in the cliffs. These ice formations are constantly changing, ultimately building enormous, intricately textured walls of blue-green ice extending 20 feet or more from the rocky ledges above. The cliffs along the southeastern part of the island (about a half-mile from Sand Point on the mainland) are the most ideal for photography. Visit on a sunny day, if possible, to capture the vibrant colors of sapphire, aquamarine and emerald in the ice. Some of the most engaging images can be made by shooting from behind the ice curtains with an ultra-wide lens, allowing the sun to shine through and highlight the colors and textures in the ice. Plan to set off before dawn as the sunrise will illuminate the cliffs and the cool-toned ice curtains with wonderfully warm hues of magenta and gold. If time allows, follow the shoreline just west of the ice curtains to the East Channel Lighthouse, a beautifully weathered wooden structure that’s perfectly situated to catch the late-afternoon sunset light.

Best Times To Visit

Winter access to Grand Island is highly dependent on lake ice conditions. Some years, the ice in the 80-foot-deep channel between the mainland and Grand Island doesn’t freeze sufficiently to allow crossing. Other years, the ice builds just enough to make it possible to cross, typically in early March, but such favorable conditions may only last a few days, depending on weather and lake currents. Ice levels aren’t measured or monitored by the National Park Service, so you’ll need to check with local outfitters, monitor the weather carefully, and exercise extreme caution before considering the trek.

Contact: USDA Forest Service, fs.usda.gov/recarea/hiawatha

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See more of Neil Weaver’s work at neilweaverphoto.com.

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Grand Island National Recreation Area

Grand Island National Recreation Area is located in Michigan’s Upper Peninsula, surrounded by the crystal-clear waters of Lake Superior, about a half-mile offshore from the town of Munising. This 13,500-acre wilderness island is part of the Hiawatha National Forest and features massive sandstone cliffs, just across the lake from its famous neighbor, Pictured Rocks National Lakeshore. Summer visitors arrive by ferry or kayak and enjoy hiking, mountain biking and backpacking. Winter visitors face the daunting and potentially dangerous task of crossing Lake Superior on snowshoes, cross-country skis or snowmobiles to access a wonderland of ice caves and ice curtains that stretch for miles along its rugged shore. 

Weather At Grand Island National Recreation Area

Lake Superior can produce extreme weather that can evolve very quickly. Winter temperatures can range from the upper 20s all the way down to well below zero. Be sure to check local weather reports before making the trek, keeping in mind that the windchill on Lake Superior will feel much colder than the predicted temperatures. In addition to bringing ice cleats for the ice curtains, it’s good to pack hand warmers for thawing your tripod if the icy conditions freeze the locks. Since there are no services of any kind on the island, bring extra layers, emergency gear and food as well as water in an insulated thermos. If the snow is quite deep when you visit, wear snowshoes for the crossing, rent a snowmobile or consider hiring a local guide to transport you.

Photo Experience

The deep cold of a typical Upper Peninsula winter creates spectacular blue-green ice curtains by freezing the water that flows continuously from mineral springs and seeps in the cliffs. These ice formations are constantly changing, ultimately building enormous, intricately textured walls of blue-green ice extending 20 feet or more from the rocky ledges above. The cliffs along the southeastern part of the island (about a half-mile from Sand Point on the mainland) are the most ideal for photography. Visit on a sunny day, if possible, to capture the vibrant colors of sapphire, aquamarine and emerald in the ice. Some of the most engaging images can be made by shooting from behind the ice curtains with an ultra-wide lens, allowing the sun to shine through and highlight the colors and textures in the ice. Plan to set off before dawn as the sunrise will illuminate the cliffs and the cool-toned ice curtains with wonderfully warm hues of magenta and gold. If time allows, follow the shoreline just west of the ice curtains to the East Channel Lighthouse, a beautifully weathered wooden structure that’s perfectly situated to catch the late-afternoon sunset light.

Best Times To Visit

Winter access to Grand Island is highly dependent on lake ice conditions. Some years, the ice in the 80-foot-deep channel between the mainland and Grand Island doesn’t freeze sufficiently to allow crossing. Other years, the ice builds just enough to make it possible to cross, typically in early March, but such favorable conditions may only last a few days, depending on weather and lake currents. Ice levels aren’t measured or monitored by the National Park Service, so you’ll need to check with local outfitters, monitor the weather carefully, and exercise extreme caution before considering the trek.

Contact: USDA Forest Service, fs.usda.gov/recarea/hiawatha

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See more of Neil Weaver’s work at neilweaverphoto.com.

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Photo Of The Day By Jeff Harshaw

Photo By Jeff Harshaw

Today’s Photo Of The Day is “A Morning With The Sherwins” by Jeff Harshaw. Location: California.

“The Sherwin range is one of the sub-range of the Sierra Nevada mountains that runs from just south of Mammoth Lakes down to just above Bishop,” explains Harshaw. “On this morning, as I began to drive back towards the US 395, I got a better look at Mt. Morrison on the left and Mt. Laurel on the right with the rest of their brothers in the range dusted with their first blanket of snow. With Hot Creek winding its way towards the Sierra Nevada mountains and the private fishing resort with its cabins nestled next to it, I reveled in the moment.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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OM Digital Solutions Introduces OM-1 Flagship

OM SYSTEM OM-1

OM Digital Solutions, formerly known as Olympus, has unveiled its first camera under the new OM SYSTEM brand. Though the Olympus name remains on the OM-1, the company states that this is a nod to the company’s history and that future OM SYSTEM cameras will not include Olympus branding.

OM-1 (top)

The OM-1 is an advancement of the Olympus OM-D E-M1 series cameras, similar to the E-M1 Mark III and E-M1X in design but with enhanced capabilities. The 20-megapixel Micro Four Thirds sensor is a new Stacked BSI (backside-illuminated) type and is paired with the latest TruePix X image processor that’s three times faster than its predecessor. The combination enables an increase in maximum ISO to 102,400 and improved dynamic range compared to previous models. Sensor-shift image stabilization is built in, providing up to 7 stops of correction with the camera alone and up to 8 stops with select lenses.

OM-1 (back)

Another highlight of the OM-1 made possible with the new processor is an evolution of the system’s computational photography technologies, which make possible features like in-camera focus stacking, HDR and hi-res composites up to 80 megapixels.

The OM-1’s AF system is also new, with 1,053 cross-type focus points and the ability to calculate focus and exposure fast enough for 50 fps continuous shooting with full AF/AE tracking. With the focus and exposure locked on the first frame, the camera’s burst shooting increases to an incredibly fast 120 fps at the camera’s full resolution.

OM-1 with optional HLD-10 vertical battery grip ($349).

Availability of the OM-1 is expected in March at a list price of $2,199 for the body only, or in a kit with the M.Zuiko Digital ED 12-40mm F2.8 PRO II, also introduced today, for $2,799.

M.Zuiko Digital ED 12-40mm F2.8 PRO II

The M.Zuiko Digital ED 12-40mm F2.8 PRO II kit lens is one of two lenses announced along with the OM-1. With its fast constant aperture of ƒ/2.8 and a 35mm equivalent focal length range of 24-80mm, it’s a great value as a kit lens for just $600 more when purchased with the camera. Bought separately, it’s priced at $999.

M.Zuiko Digital ED 40-150mm F4.0 PRO

The other new lens is the M.Zuiko Digital ED 40-150mm F4.0 PRO. Equivalent to 80-300mm and priced at $899, it’s an excellent companion to the kit lens. Together they cover an impressive wide to tele range for under $2,000. 

Both lenses include extensive weather sealing to match the OM-1 camera. For additional details on the OM-1 and new lenses, see the press releases below.

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Introducing the OM SYSTEM OM-1 Interchangeable Lens Camera with a New Stacked BSI Live MOS Sensor and Cross Quad Pixel AF

The New OM SYSTEM Flagship Model Revolutionizes Emerging Technology and Newly Developed Devices

Bethlehem, PA, February 15, 2022 – OM Digital Solutions is pleased to announce the introduction of the OM SYSTEM OM-1: This Micro Four Thirds System standard interchangeable lens camera features a compact, lightweight design for superior mobility along with high image quality. It is scheduled to go on sale in early March 2022. As the OM SYSTEM flagship camera, this model will deliver a one-of-a-kind experience to customers, driving the desire for photographers to create. This interchangeable lens camera delivers inspiration in a lightweight design that users can take along anywhere to capture the precise photos they have in mind.

The OM SYSTEM OM-1 is the culmination of new devices and cutting-edge digital technologies, delivering high image quality that goes beyond the expectation of the sensor size. It also features autofocus and sequential shooting performance that far surpasses conventional models, and dramatically improves basic performance. Computational photography technology has been incorporated, empowering the photographer to utilize such features as Live Composite and High Res Shot mode, without the need for advanced shooting techniques, special equipment, or skills, delivering a rich variety of expressive power for more photographic opportunities than ever before.

Thanks to the superb mobility of the Micro Four Thirds system, the OM SYSTEM OM-1 can be taken anywhere at any time, allowing anyone to take advantage of its high performance to capture versatile images with high image quality. This is the next generation Micro Four Thirds camera brought to you by OM SYSTEM.

MAIN FEATURES:

1. High image quality that goes beyond the expectations of the sensor size

This model features a high-end compact, lightweight body unique to OM SYSTEM, including the new 20 Megapixel¹ Stacked BSI Live MOS sensor, and the latest TruePic X image processor, which is three times faster than previous models. The OM SYSTEM OM-1 delivers high image quality that goes beyond the expectations of the sensor size. Not only does it take full advantage of high-resolution M.Zuiko Digital lens performance, delivering our highest ever resolution², but new noise processing technology increases the maximum normal sensitivity to ISO 25600, and an expanded maximum sensitivity to ISO 102400. Furthermore, the dynamic range has been improved thanks to the latest image processing technology. These improvements deliver a richer range of tonal expressions than ever before, from shadows to highlights.

The high-performance image stabilization in the OM SYSTEM OM-1 delivers up to 8.0 steps3 of compensation with 5-axis sync IS, and up to 7 steps4 with the body alone. The new Handheld Assist feature makes it easy to capture slow shutter speed effects that previously required a tripod.

2. Computational photography functions that empower the photographer to further expand their imaging expressions

Photographic expressions that have traditionally required special equipment and a computer to composite images are available in the OM SYSTEM OM-1. Thanks to computational photography (advanced digital image processing) technology, these imaging features have been incorporated in this interchangeable lens camera at an early stage. The OM SYSTEM OM-1 uses a combination of the new TruePic X image processor, the new image sensor, and the latest digital technologies to make computational photography features better and even easier to use. When paired with high-performance M.Zuiko PRO lenses, the system makes it possible to capture a greater range of imaging expressions only possible with the OM SYSTEM OM-1.

• High-Res Shot

The processing time has been significantly reduced. Handheld High-Res Shot mode takes approximately five seconds to merge. Popular for landscape photos due to the ability to capture high-resolution approximately 50 Megapixel images by merging multiple images; and Tripod High-Res Shot, which creates ultra-high-resolution approximately 80 Megapixel images. Composite processing technology reduces noise by approximately two steps for amazingly high pixel count and low noise. A dedicated button is also included on the camera to quickly switch between normal shooting and Handheld High-Res Shot/Tripod High Res Shot for improved usability.

• Live ND

Create slow shutter speed effects as though you were using an ND filter up to ND64 (six steps) (ND2 – ND64). When LV Simulation is activated, you can check the slow shutter speed effects in the viewfinder and on the LCD monitor before shooting and create the same effects while using ultra-wide-angle lenses that cannot accommodate an ND filter.

• Live Composite

In this setting, Lighten Composite is used to add only the brighter sections to the composite image to prevent the common problem of images that are too bright overall when shooting long exposures, resulting in beautiful photos with plenty of variation. This feature is now compatible with image stabilization and can be used during handheld shooting.

• Focus Stacking

This feature alters the focus to capture and composite multiple shots for recording photos that are in focus from the foreground to background. The compositing time has been dramatically reduced for easier use.

• HDR Shooting

Multiple images at differing exposures are merged to create one shot with a wide dynamic range, including highlights and shadows.

3. High-speed performance of newly developed autofocus and dramatically improved performance for maximum 50 fps⁵ sequential shooting with AF/AE tracking

A quad-division photo diode configuration allows for On-chip Phase Detection in both vertical and horizontal directions. 1,053-point, all cross-type, Cross Quad Pixel AF is incorporated; designed to focus on various patterns of subjects across all pixels and the entire shooting range. The high-speed calculation capabilities of the new TruePic X processor and the new AF algorithm enable high-speed, high precision focusing on the subject no matter where it is in the frame. Furthermore, this model is equipped with AI Detection AF, which was developed using deep learning technology. In addition to greater than ever high-speed, high-precision subject recognition and tracking, this model can recognize formula cars, motorcycles, airplanes, helicopters, trains, and birds, as well as animals (dogs and cats). In addition to C-AF, this functionality is also supported with S-AF for shooting a wider variety of scenes. The detection precision, tracking performance, and responsiveness of Face Priority/Eye Priority AF have been improved significantly.

There have also been exponential improvements to sequential shooting performance, reaching up to 50 fps blackout free AF/AE tracking at approximately 20.37 Megapixel, and up to 120 fps AF/AE locked ultra-high-speed sequential shooting. When using Pro Capture, which is designed for capturing shots that are not possible during normal shooting, you can enjoy sequential shooting up to 50 fps (AF/AE tracking) and up to 120 fps (AF/AE locked).

4. Camera body features enhanced dustproof and splashproof performance, along with a high-speed, high-resolution electronic viewfinder

The dustproof and splashproof performance is achieved by incorporating sealing materials at the appropriate locations on the tough, lightweight magnesium alloy body, ensuring IP53 dustproof and splashproof protection class⁶, and freezeproof performance to -10°C. Because this model is compact, lightweight, and features dustproof and splashproof performance, it makes for a powerful ally when shooting in punishing environments. The high-performance EVF is equipped with approximately 5.76 million dot resolution, a viewfinder magnification of up to 1.65x, a display delay of 0.005 seconds⁷, and 120 fps high-speed display, to ensure optimal shooting comfort. Not only does it feature all the best facets of an optical viewfinder, but it also offers the advantages of a digital viewfinder, making it possible to view subjects and check exposure, even in dark locations. The menu screen configuration has been completely redesigned on the OM SYSTEM OM-1. Items have been split, merged, and reclassified, and descriptions have been simplified to make it easier to find the desired functions, and make changing settings simpler for first-time users.

5. Enhanced video functions for creators (10bit 4K 60p, Full HD 240p)

Stable handheld video recording is possible thanks to a compact, lightweight body and industry-leading image stabilization. Creative video functions include 4K 60p for smooth, high-definition videos, and high-speed movie with Full HD videos at a maximum 240p. The camera also supports H.264 (8bit), H.265 (10bit), and Multi Frame Rate for recording video clips over 30 minutes in length. In addition to RAW data output up to 12 bit 4:4:4 to external devices for advanced post-production tasks, the OM SYSTEM OM-1 supports OM-Log for a greater level of freedom over imaging expressions thanks to color grading, which allows users to capture highlights and shadows without overexposing or underexposing shots. The new HLG (Hybrid Log Gamma)⁸ video picture mode has been added for easier HDR video recording.

Other Features

• Reliable SSWF (Supersonic Wave Filter) dust reduction system that vibrates at a speed of more than 30,000 times per second to instantly remove dirt and dust from the image sensor
• Highly durable shutter unit that clears 400,000 shutter actuations (according to in-house testing conditions)
• Staggered layout UHS-II compatible dual SD card slots make it easier to remove recording media
• Five rating categories in the on-camera rating system
• Night view mode makes it possible to view subjects even in dark environments
• Starry Sky AF makes focusing on stars easier than ever
• Record shooting location information with minimal power drain (smartphone connection)
• Equipped with an independent AEL button and AF-ON button

PRICING & AVAILABILITY

OM SYSTEM OM-1 (Body Only)

Pricing: $2,199.99 USD; $2,799.99 CAD

Approximate Availability date: Early March 2022

OM SYSTEM OM-1 Kit with M.Zuiko Digital ED 12-40mm F2.8 PRO II

Pricing: $2,799.99 USD; $3,599.99 CAD

Approximate Availability date: Early March 2022

SEPARATELY AVAILABLE ACCESSORIES:

HLD-10, Power Battery Holder (sold separately)

This power battery holder designed exclusively for the OM SYSTEM OM-1 offers the same controls in the vertical position as the horizontal position. It offers IP53 dustproof and splashproof construction when paired with the OM SYSTEM OM-1. When two BLX-1 Lithium-Ion Rechargeable Batteries in the camera and the HLD-10 are used together, approximately 1,000 shots (based on CIPA tests) can be captured. When attached to the OM SYSTEM OM-1, the BLX-1 Lithium-Ion Rechargeable Battery can be charged⁹ inside the HLD-10.

Pricing: $349.99 USD; $449.99 CAD
Approximate Availability date: Early March 2022

RM-WR1, Wireless Remote Control (sold separately)

This wireless remote-control features IP57¹⁰ dustproof and splashproof construction, enabling remote shooting (communication range: within 5 m of the camera body) in any kind of environment, when paired with the OM SYSTEM OM-1. It enables remote shutter release, control of autofocus, image display control between still images and videos, as well as release lock during long exposures. This power saving design is achieved using Bluetooth^® Low Energy communication. It can be used to start and stop video recording and connects with the included cable for wired remote use. The RM-WR1 can also be used as a wired remote control when connected using the cable included with Micro Four Thirds camera models equipped with a compatible remote cable terminal, such as the Olympus OM-D E-M1X and the Olympus OM-D E-M1 Mark III.

Pricing: $99.99 USD; $129.99 CAD

Approximate Availability date: Early March 2022

BLX-1 Lithium-Ion Rechargeable Battery (bundled/sold separately)

This is a high-capacity, 2,280 mAh lithium-ion battery. It can be recharged approximately 500 times.

Pricing: $99.99 USD; $129.99 CAD
Approximate Availability date: Early March 2022

BCX-1 Battery Charger (sold separately)¹¹

This dedicated charger can simultaneously charge two BLX-1 Lithium-Ion Rechargeable Batteries. Batteries are fully charged in approximately 150 minutes. Because the battery is compatible with the USB Power Delivery standard, it can be charged with a power bank (9V/3A output).

Pricing: $149.99 USD; $189.99 CAD
Approximate Availability date: Early March 2022

SBCX-1 Battery Charger (sold separately)

BCX-1 battery charger bundled with one BLX-1 lithium-ion battery.

Pricing: $219.99 USD; $279.99 CAD

Approximate Availability date: Early March 2022

APPLICATIONS/SOFTWARE FOR PHOTOGRAPHY AND EDITING SUPPORT

OM Image Share Smartphone App (OI.Share)

This smartphone app is used to connect to the camera via Wi-Fi, transfer images and shooting data, and perform remote operations. On the OM SYSTEM OM-1, OI.Share can be used to update the firmware on the camera body and backup/restore camera settings.

OM Workspace v2.0 Image Editing Software

This image editing software includes advanced RAW processing and editing features. It boosts the abilities of the USB RAW Data Edit feature on the OM SYSTEM OM-1 and enables editing such as tone curve and Dehaze adjustments in addition to processing settings that can be applied on the camera. AI Noise Reduction has been added for RAW processing. When applied to RAW files captured on a supported camera¹² for processing, it helps generate clearer images.

Company names and product names contained in this release are trademarks or registered trademarks of their respective companies.

1. Number of effective pixels: Approx. 20.4 Megapixel. Total number of pixels: Approx. 22.9 Megapixel.

2. As of 15.02 2022. On a comparison with OMDS interchangeable lens cameras. According to our in-house research.

3. Lens used for 8.0 step image stabilization: M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO, focal length: f=150mm (35mm equivalent focal length: f=300mm), halfway release image stabilization OFF, frame rate: high speed, CIPA standard compliant, when correction is carried out on two axes (yaw/pitch)

4. Lens used for body only 7.0 step image stabilization: M.Zuiko Digital ED 12-40mm F2.8 PRO, focal length: f=40mm (35mm equivalent focal length: f=80mm), CIPA standard compliant, when correction is carried out on two axes (yaw/pitch)

5. When using a compatible lens. Please see product website for details.

6. When paired with a dustproof and splashproof lens (according to lens standard). This does not apply during charging or HDMI connection.

7. When 120 fps high-speed frame rate is selected.

8. An HLG-compatible monitor is required for HDR video playback.

9. The BLX-1 Lithium-Ion Rechargeable Battery cannot be charged in the HLD-10 alone.

10. When using wireless connection. IP51 when using wired connection via cable.

11. This product does not include F-7AC USB-AC Adapter, CB-USB13 USB Cable, or BLX-1 Lithium-Ion Rechargeable Battery. Please use the accessories included with the OM SYSTEM OM-1.

12. Supported cameras: OM SYSTEM OM-1, E-M1 Mark II, E-M1 Mark III, E-M1X, E-M5 Mark III. Additional programs and supported data must be downloaded.

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Introducing A “New Classic” Standard Zoom Lens and the World’s Most Compact, Lightweight¹ Telephoto Zoom Lens

M.Zuiko Digital ED 12-40mm F2.8 PRO II and M.Zuiko Digital ED 40-150mm F4.0 PRO

Bethlehem, PA, February 15, 2022 – OM Digital Solutions is pleased to announce two new Micro Four Thirds System standard compliant M.Zuiko PRO lenses: The M.Zuiko Digital ED 12-40mm F2.8 PRO II (35mm equivalent: 24-80mm) is a high-performance, standard zoom lens featuring the brightness of F2.8 across the entire zoom range from wide-angle 24mm equivalent to mid-range telephoto 80mm equivalent¹. This is the successor to the popular classic Micro Four Thirds M.Zuiko Digital ED 12-40mm F2.8 PRO standard zoom lens (released November 29, 2013) and offers improved image quality and weather-resistant performance thanks to the latest technologies.

The M.Zuiko Digital ED 40-150mm F4.0 PRO (35mm equivalent: 80-300mm) is a compact, lightweight telephoto zoom lens that covers a broad focal length range from mid-range 80mm equivalent² to telephoto 300mm equivalent². This high-performance M.Zuiko PRO lens is the world’s most compact, lightweight model¹, featuring a fixed maximum aperture value of F4.0.

AVAILABLE WITH BOTH LENSES

Reliable weather-resistant performance for stress-free shooting even in punishing environments 

• Advanced IP53 dustproof and splashproof performance, and freezeproof performance to 14°F

Both lenses clear the IPX3 and higher splashproof tests, far exceeding the conventional IPX1 rating, as well as dustproof tests. Both feature IP53 dustproof and splashproof performance for peace of mind in even more punishing conditions. They can also function in low-temperature environments down to 14°F, and pairing these lenses with a dustproof, splashproof, and freezeproof camera body makes it possible to continue shooting in punishing environments such as rain, snow, and even dusty environments with peace of mind.

• Fluorine coating added

In addition to water, oil, and dust repellent performance, the fluorine coating on the front-most lens reduces friction. Both lenses can easily be cleaned with a blower or cloth when dirty, allowing users to continue shooting immediately.

MAIN FEATURES: M.Zuiko Digital ED 12-40mm F2.8 PRO II

1. Further improved high image quality and a compact, lightweight design in a standard zoom lens with a fixed maximum aperture of F2.8

• Optical design with 14 elements in nine groups for excellent resolution across the entire zoom range

This model uses an optical design with 14 elements in nine groups (one EDA lens, two aspherical lenses, one DSA lens, two ED lenses, one HD lens, two HR lenses) with four aspherical lenses including a DSA lens effectively placed to achieve a compact, lightweight form and superior depictive performance expected of an M.Zuiko PRO lens. Effectively compensating for aberrations that occur when zooming, results in high resolution from the center to the edges of the frame across the entire zoom range, from wide-angle 24mm equivalent to mid-telephoto 80mm equivalent¹. This high-performance lens fully utilizes the high image quality performance of the camera body when using High Res Shot mode.

• Clearer, sharper imaging than ever before

The latest manufacturing techniques suppress surface scattering on aspherical lenses, significantly reducing flares compared to conventional products, resulting in clearer depictive performance. Optimal placement of coating, including ZERO (Zuiko Extra-low Reflection Optical) coating, improves resistance in backlit situations.

2. Versatile features for a wide range of applications, including macro shooting

• Close-up shooting performance with a maximum image magnification of 0.6×1

This lens features a closest focusing distance of 20 cm across the entire zoom range. At the wide-angle end, users can enjoy macro shooting with an enhanced sense of perspective, and at the telephoto end a maximum image magnification of 0.6x that rivals half-macro lenses, for authentic close-up shooting. The lens is capable of various styles of macro shooting and includes support for Focus Stacking which is useful for close-up shooting.

• A MSC mechanism enables high-speed, silent AF

The compact, lightweight focusing unit consisting of two cemented lenses is powered by a linear motor driving MSC (Movie and Still Compatible) mechanism, resulting in high-speed, silent AF. This design makes shooting still images and videos easy. The lens is capable of approximately 50 fps (AF/AE tracking) sequential shooting when paired with the new OM SYSTEM OM-1, thanks to advanced camera control technology.

• Superb controls for quick setting changes

Pull the focus ring toward you to instantly switch to manual focus with the Manual Focus Clutch mechanism and use the L-Fn (lens function) button to control the lens with a single finger. These features allow users to quickly switch settings as needed to continue shooting without delay.

PRICING & AVAILABILITY:

M.Zuiko Digital ED 12-40mm F2.8 PRO II

$999.99 USD; $1,299.99 CAD

Availability date: Early March 2022

BUNDLED ACCESSORIES:

LH-66D Lens Hood

This lens hood is designed exclusively for the M.Zuiko Digital ED 12-40mm F2.8 PRO and M.Zuiko Digital ED 12-40mm F2.8 PRO II. It reduces unwanted light entering the lens in backlit scenes and protects the lens.

MAIN FEATURES: M.Zuiko Digital ED 40-150mm F4.0 PRO

1. The world’s most compact, lightweight¹ and high image quality telephoto zoom lens

• Excellent resolution across the entire zoom range from 80mm to 300mm

This lens uses the same fundamental structure as the M.Zuiko Digital ED 40-150mm F2.8 PRO, which is well known for its high resolution, and incorporates an optical design with 15 elements in nine groups (two ED lenses, one Super ED lens, one HR lens and two aspherical lenses). An effective layout of special lenses helps to thoroughly suppress chromatic aberration, which tends to occur with telephoto lenses, and delivers high-resolution imaging from the maximum aperture value across the entire zoom range and frame while maintaining a compact and lightweight form. The lens also features ZERO (Zuiko Extra-low Reflection Optical) coating, thoroughly eliminating ghosts and flares for clear depictive performance even in difficult conditions such as backlit scenes. This high-performance lens fully utilizes the high image quality performance of the camera body even when using High Res Shot mode.

• The world’s most compact, lightweight model¹ delivers unrivaled portability, and an inner zoom system improves usability

A retracting mechanism makes this the world’s most compact, lightweight model as a fixed aperture value, 300mm equivalent (35mm equivalent) telephoto zoom lens, measuring approximately 99.4 mm long (124 mm long when in use) and weighing approximately 382 g, making it amazingly compact and lightweight. The lens was designed with a focus on ease of use when shooting and is equipped with a mechanism that makes it possible to retract and store the lens simply by turning the zoom ring. It also uses an inner zoom system that keeps the lens length the same across the entire focal length, suppressing center of gravity changes while zooming. Using compact, lightweight lenses in the front drastically reduces the feeling of heaviness, eliminating the long lens barrel and weight at the front of the lens, which is common to telephoto lenses, making shooting easier and more well-balanced.

2. Closest focusing distance of 70 cm (at all focal distances), and macro capabilities with a maximum image magnification of 0.41x²

This model features a closest focusing distance of 70 cm across the entire zoom range, just like the M.Zuiko Digital ED 40-150mm F2.8 PRO. At the telephoto end, close-up shooting is possible up to a maximum image magnification of 0.41x. Despite being a telephoto zoom, this lens also possesses superior close-up shooting performance for a wide range of applications. Focus Stacking3 is also supported, which captures multiple shots at different focal positions, and then automatically composites the shot. When paired with a compatible camera, this mode allows you take macro photos that are completely in focus from the front to the back of the image.

PRICING & AVAILABILITY:

M.Zuiko Digital ED 40-150mm F4.0 PRO

$899.99 USD; $1,149.99 CAD

Availability date: Early March 2022

BUNDLED ACCESSORIES:

LH-66E Lens Hood

This lens hood is specifically designed for the M.Zuiko Digital ED 40-150mm F4.0 PRO. It reduces unwanted light entering the lens in backlit scenes and protects the lens.

LC-62G Lens Cap

Company names and product names contained in this release are trademarks or registered trademarks of their respective companies.

1. As of February 15, 2022. The world’s most compact, lightweight model as a fixed aperture, 300mm equivalent (35mm equivalent) telephoto zoom lens. Our in-house research.

2. 35mm equivalent.

3. The camera firmware may need to be updated to use this feature. See the website for information on supported cameras and firmware versions.

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