Olympus Master 2 Review Series Alongside The
IGN reviewer Stephen Butts stated that he 'had to tear himself away from the game to write the review.'. Each model offers 8.0 megapixels of resolution, a 5x optical zoom lens, Face Detection, Digital Image Stabilization, PerfectZeus: Master of Olympus received generally favorable reviews with a rating of 87 on Metacritic. All of the sample images in this Review were captured using the 10 megapixel Large Super Fine JPEG setting, producing a file thatReview posted Click to take a QTVR tour of the FE-340 Olympus new FE-340 is available in five metal, super-slim bodies (silver, red, blue, black and pink). Announced in October 2021, it comes five and a half years after the Mark I which actually launched the G Master series alongside the 24-70 2.8 and 85 1.4 lenses I wonder if. The Sony FE 70-200mm f2.8 G Master Mark II is a high-end telephoto zoom for the e-mount mirrorless system and Sony’s first G Master lens to receive a Mark II redesign.
Photos taken in visible light show excellent detail across the camera's entire sensitivity range, with high-ISO noise being largely unobtrusive, making the Olympus E-520 an ideal tool for those who like big, detailed prints. The camera has also been proven to be fairly sensitive to infrared light, and its Live View Boost feature is a real boon to photographers wishing to compose and focus with an IR filter attached to the lens. The sensor turned out to have a more than respectable dynamic range, although you will have to look beyond Olympus' own RAW development tools to get the maximum out of it. The newly implemented Shadow Adjustment Technology really helped when shooting JPEG in harsh, uncontrolled lighting. Colours were rich and vibrant without looking over-saturated, and the photographs had very good tonality. The JPEG output of its predecessor the E-510 may have suffered from an over-contrasty default tone curve, but the E-520 in the Natural Picture Mode yielded very good results right out of the camera.
Must be made available in a 4K master if the film is successfully shortlisted.The Olympus E-520 has five selectable sensitivity settings, ranging from ISO 100 to 1600. NoiseWith mirrorless cameras like the Fuji X-T2, Olympus OM-D E-M1 Mark II. At any rate, this is a minor issue that is unlikely to affect the majority of photographs taken with the E-520. This is about the only complaint I have about the E-520's image quality, and to be fair, I did not see anything like that in any of the RAW shots, so it might simply be a rare JPEG processing bug that has nothing to do with the AA filter. Sometimes it failed to prevent false detail or moiré pattern from appearing in photos taken with a lens that can clearly out-resolve the sensor, as can be seen near the upper right corner of the photo of the Irish pub in the Sample Images section.
I had a commercial lab print one of the ISO 1600 shots on A4 size Kodak Royal Digital matte paper and couldn't see a trace of noise, even though I knew where to look for it. By scrutinising the images at 100% magnification on screen, it's not terribly difficult to see evidence of shadow noise at medium to high ISOs, but it is tightly packed and finely grained, so it does not really appear in print. The best choice seems to be Low, and this is the setting the test shots whose crops you see below were taken at. You may also set it to Low, Standard or High.
Similarly to Nikon's D-lighting, Sony's DRO etc., this solution brightens the shadows in a high-contrast scene without affecting the midtones or the highlights. Here are some 100% crops which show the noiseOne of the improvements over the E-510 is the inclusion of Shadow Adjustment Technology (SAT), a useful feature for JPEG shooters. The only practical difference between low- and high-ISO shots is that the former lend themselves better to tweaks like levels-, curves- or colour balance adjustments in post-processing.
Two other, special-use gradation settings are available on the camera, Low Key and High Key. It is worth noting that even when gradation is set to Normal, the E-520 applies a much more sensible default tone curve to the JPEGs than the E-510. Below you can see a comparison of Normal and Auto gradation the difference is noticeable in the shadowed areas on the left side of the photo, and also in the tree foliage. Although this option is always at your disposal, remember that it is meant to be used in strong, contrasty lighting at base ISO.
Olympus Master 2 Review Plus You Can
It accurately represents what we would have been stuck with if we had shot JPEG. This is exactly what we can see in the straight conversion, to which no adjustment was made during RAW development. With many digital cameras, if you exposed for the subject – the buildings in this case – you would end up with a completely burnt-out sky in your photo. To do this, we photographed a scene in cloudy bright conditions, when the subject received no direct illumination from the sun, and the sky was several stops brighter. Therefore we have investigated if there was any headroom in the RAW files. An example of a high-key photo is the coffee cup shot in the Sample Images section.Although the E-520 has less of a tendency to blow highlights in JPEGs than the E-510 – and when it does, it does so more gently – plus you can opt to expose for the highlights and dial in Auto gradation to let SAT take care of the shadows, there may be times when you wish the camera had more highlight range than what is available by shooting JPEG.
We were curious to find out if the Live View feature of the E-520 could be used to circumvent this. Consequently if you take a number of infrared photos in succession, you have to detach and attach the IR filter before each shot. With a typical SLR, this requires that you compose before the filter is mounted, because once it is on, you cannot see a thing through the viewfinder. In order to take IR shots, one has to attach an R72 type infrared filter to the lens. In conclusion, we can establish that there is at least 1½ stops of RAW headroom above the roughly 2½ stops of highlight range available in the JPEGs, which, when added to the approximately 5 stops of usable shadow range at base ISO, makes for a very decent dynamic range – but you have to look beyond Olympus Master to extract it all.Although digital cameras typically have strong IR cut filters built in to avoid unwanted colour casts in visible-light photos, most of them are still more or less sensitive to the near infrared part of the spectrum.
The exposure was 10 seconds at f/8 – this is quite typical in IR photography, so use a sturdy tripod. This is what I did when capturing the photo below, which was then converted into a 16-bit TIFF with Olympus Master, and finalised in an image editor. Remember that IR shots tend to have very low native contrast, so it is recommended that you shoot RAW. In fact you can even use the 10x magnification feature within Live View for accurate manual focusing. If you do so and have a fast lens mounted to the camera, you should have no problem composing on the LCD even with an R72 filter in front of the lens.
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