Olympus OM-D E-M1 Mark II: Making A Connection

© Tracie Maglosky. OM-D E-M1 Mark II, M.Zuiko 25mm F1.2 PRO, 1/80 sec., ƒ/1.2, ISO 200

For wedding, maternity, newborn and studio photographer Tracie Maglosky, an Olympus Visionary, being able to capture every detail is vital, and so is being able to get the shot the first time, which is possible thanks to the quality of Olympus lenses, the lightning-fast autofocus on her Olympus OM-D E-M1 Mark II camera and the ability to work directly with studio strobes. “I’d say 95 percent of people hate to get their picture taken,” explains Maglosky, which is why she needs a system that will lock onto the subject quickly and capture every nuance.

It’s also why she loves the ability to use the camera’s brilliant 3.0-inch vari-angle monitor to compose and focus her images with instantaneous response, something a DSLR can’t do. With a simple touch, Maglosky can focus on her subjects, while leaving the camera away from her face to talk to her subjects. “It’s nice to maintain eye contact. It gets me connected with my clients. I used to feel like I was hiding behind my camera, but now I can connect and give them direction. It helps them feel less vulnerable.”

Maglosky’s work is portrait-driven, and she relies heavily on lenses like the Olympus M.Zuiko 25mm F1.2 PRO, as well as the new 17mm F1.2 PRO and 45mm F1.2 PRO. “When the 25mm F1.2 PRO came out, I thought, ‘This is my favorite lens ever,’” says Maglosky, who started shooting Olympus for its legendary optical quality. “These lenses really are so sharp at ƒ/1.2, it’s crazy. They give me really great falloff. I can make sure the eyelashes are in focus and the cheek gives a soft focus,” she explains. “When I got the 25mm, I thought there was no way I could shoot sharp handheld at ƒ/1.2, but the images astounded me.” Maglosky attributes much of the sharpness to the Olympus 5-Axis in-body Image Stabilization, which provides up to 5.5 stops of compensation for blur-free shots, no tripod needed.

“I use people shooting with DSLRs all the time as second shooters on weddings, and they’re shooting at ƒ/4 or ƒ/5.6 to get sharp images, because most lenses aren’t sharp fully wide open, ” says Maglosky. “They’ll stop down to make sure that they get the sharpest image from their lenses. The images I shoot at ƒ/1.2 are even sharper, though, thanks to the quality of the Olympus optics. I like to show them that they can shoot with Olympus and get sharp images even wide open.”

For her portrait work, Maglosky takes advantage of the communication between her OM-D E-M1 Mark II and her Profoto studio strobes. “I have a studio kit and the Profoto location kit, and they work seamlessly with my cameras.” She also uses the OM-D E-M1 Mark II underwater housing for her dreamy, ethereal underwater portraits. “The housing is foolproof. I thought it would be complicated, but you just put it on and go shoot,” she says, and explains that the compact size of the Olympus camera and lenses make them perfect for use underwater.

To Maglosky, having a system that’s dependable, works well in a studio environment and helps her make a connection to her clients is crucial, and that’s the Olympus advantage.

Hear more from other photographers who have made the switch to the Olympus OM-D system at getolympus.com/neverlookback.


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