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September 2025 : Monday
Sep 2025 : Monday
This is a chunk of the scene which welcomes you into Milford Sound (Piopiotahi) from the ocean/sea end of the Fjord.
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Creative agencies and teams know the drill—tight deadlines, demanding clients, and the constant pressure to find new revenue streams. Between managing projects and chasing new business, there’s barely time to explore income opportunities that don’t require more billable hours.
Affiliate programs often get dismissed as something only solopreneurs and influencers can benefit from. But your entire team, agency, or department can turn your professional networks into serious passive income through team affiliate marketing.
30,000 sales and marketing pros get our insights, tips, and best practices delivered weekly.
You use your combined professional relationships to refer people who need editing services for different purposes than what you do. Photo editing affiliate programs like ours work particularly well because they offer high-value services, repeat customers, and longer commission windows. Read on for tips on how to make the most of it.
Here’s how Path’s affiliate program stands out compared to typical industry affiliate programs:
You earn for 12 months, not just once. Most affiliate programs pay you once when someone buys, then you’re done. Path pays you 20% commission on every single order that customer places for their entire first year. One good referral keeps paying you for months.
It doesn’t have income limits. There are no earning caps or referral limits. Refer 5 customers or 50—you get paid for all of them.
Our program works for individuals and businesses. Your agency can participate as a team, pooling referrals and sharing commissions however you want.
You get a longer tracking window. Path tracks your referrals for 60 days using cookies. Most programs only track for 30 days, so you have more time for people to actually place their first order.
The program has a low payout threshold. You get automatic monthly payouts via Wise once you hit just $25.
You receive Industry-competitive rates. Photo editing services typically offer 15–50% commissions, but most pay only on the first purchase. Path’s 20% rate for 12 months means you earn significantly more per referral over time. For example, if a customer spends $500 total on Path editing services in their first year, you earn $100 compared to just $20 from a typical one-time commission program.
You’re recommending quality service. Path uses human editors, not AI. It makes referrals easier because you’re recommending a service that actually works and has a good, established reputation with tons of 5-star reviews.
Getting started with our affiliate program takes just 5 minutes:
We designed this affiliate program for photo editing to be simple enough for you and your team to share your links and get paid without waiting for large withdrawal thresholds.
Our program works best for teams already working in creative and photography spaces. Remember, your team’s combined network is bigger than any individual’s, and you’re not referring Path to competitors, but people who need editing for different purposes or different scales than your work. Below are some ideas and tips for specific referral opportunities for each type of business.
You outsource editing work, have clients who need consistent photo editing, and can recommend Path when clients need more support. For example, small business clients who need product photos but can’t afford full agency services, startup clients doing their own photography who need professional editing, freelancers you work with who need editing support, corporate clients’ in-house teams handling basic photography, and marketing teams you work with on different projects.
Product photography is part of your daily routine, and you know how frustrating inconsistent editing can be. You can recommend Path to other ecommerce brands in non-competing industries, suppliers who need better product photos for catalogs, and retailers you sell through, such as ecommerce shops that might need different edits for different marketplaces.
You can refer other photographers in different specialties (real estate, weddings, events), smaller companies who can’t afford your services but need editing, and freelancers you collaborate with or mentor. Even venues you shoot for might benefit from a variety of edits when they advertise competitions or events across social media, websites, and print materials like leaflets or posters.
Your ongoing relationships with HR departments and corporate clients can create natural moments where editing recommendations come up in conversation. For example, you might deliver a series of team headshots but their marketing team will need to use them in different formats across websites, LinkedIn, or other platforms.
Content creators, photography educators, consultants, business coaches, and equipment vendors all connect with people who need editing help. And unlike agencies and larger brands, solo professionals and freelancers often share behind the scenes of their workflow and tools with others in the same space.
Successful referrals generally come from understanding your network and making the conversation feel natural, not forced:
If you’re wondering what actual conversations might look like, we have some ideas below. The main idea is to frame your content as helping others, not promoting yourself, because you want your network to trust you, not see you as salesy.
For agencies and studios:
For ecommerce teams:
For photographers:
General social sharing ideas:
Ready to get started as our affiliate? Here’s how it works:
If you’re looking to earn passive income from recommending a reputable service to your network, Path’s affiliate program is a great fit. You earn 20% commissions for 12 months, there are no earning caps, and it’s designed for teams and agencies who want to monetize relationships without competing with similar businesses. Apply today and start earning!
Earn 20% commissions while helping others level up their visuals—with a human-powered photo editing partner they trust..
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The latest edition of Underwater Photography magazine—Issue 146—is now available as a free download.
The issue begins with a handy roundup of the latest industry news and new imaging gear. New equipment highlights include Nauticam’s Midrange Focus Optimizer 3 (MFO-3), Isotta’s smartphone housing, Ikelite’s housing for the OM System OM-5, OM-5 Mark II and Olympus OM-D E-M5 Mark III, Nauticam’s housing for the Sony a1 Mark II and a9 Mark III, and Marelux’s housing for the Nikon Z8. There’s also a wonderful showcase of the winners of the 2025 Shark Photographer of the Year Competition.
Speaking of the MFO-3, Mike Bartick’s review of Nauticam’s unique optic is among the main features in the issue. Others include Ross McLaren’s interesting piece on what’s achievable with a budget underwater camera rig; Phil Rudin’s reviews of Sony’s a7C II and a7CR cameras; and a reproduction of Backscatter’s instructive article on using their Hybrid Flash (HF-1) and Mini Flash 2 (MF-2) in remote mode. To round things off, Angelina Pilarinos talks about what it’s like to work as an underwater photographer on Australia’s Great Barrier Reef, and Ross McLaren offers his six favorite sites in Scotland.
Getting your free copy of the latest issue of Underwater Photography magazine is a breeze: Simply sign up with your email to get access. If you’ve already signed up (and you’re logged in), you can download your copy directly here.
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Welcome to our weekly community wrap-up. It’s been another exciting and creative week on the Light Stalking forums with some stunning photography by the community.
Let us start with the Photo Of The Week that is judged by Federico every week. This week’s photo of the week is by Michael. You can read about what Federico had to say about this photo in the link here – Photo of the Week – August 29th
The weekend photography challenge from last week, had some very interesting and creative shots. Take a look at the submissions here – “Framed by Nature”
This week, we have a new challenge that has some very beautiful submissions already. Join the challenge here – “Cityscapes Framed“
If you are someone who captures images with your smartphone, we have a Mobile Photography Challenge where you can post your mobile photos and also check out the works by other photographers. The images must be captured and edited on a smartphone. Join to submit the photos over here.
There are also some members’ picks that are featured. These can be chosen by any of the members and are put in in a whole new thread of their own and called out as being a great addition and shot for the forums. Check out those stunning captures here.
Patrick started a thread late last year – “Community Inspired Photo Story Challenge” – capture a story in 3 to 6 photos that hold personal significance and post them with a brief description. While that thread was started to be completed within a week, it has been open with ongoing submissions for the past year and is till open where members can post their stories.
Here are some stunning shots from the past week that we thought were amazing and should be included here:
Marty captured some stunning photos of the Canadian geese taking flight from a lake in Michigan. Check out the remaining images here – Geese Taking Flight
Bug On A Bud by Robert Apple. The subjects boast of beautiful contrast and stand out against the beautiful complementary background.
Mango Order, by Rob Eyers is a fun photo and Rob had a very interesting caption for this photo. You can head over to the forums to read and engage in the conversation.
Evening Skies Over The Big Horn Mountains by Robert Apple – See the rest of the images here. Some dramatic sunset sky photos there.
Daniel shared a cute moment of these baby animals.
Elin”s photo of the craters in Snæfellsnes, Iceland, are a treat to the eyes in terms of colours, light and atmosphere.
Rhonda shared a beautiful reflection photo of a sunrise over Lake Louise.
Pat’s photo of a bog landscape with the sunlight shining over it, looks a bit dreamy with the colourful foreground adding more interest and textures.
Max shared a beautifully composed photo of one of the faces in Mount Rushmore, framed through a crevice, looking on onto the mountain, from an interesting perspective.
Elin has used beautiful light in the image below to frame her subject. The light and shadows cast on the pathway work great as a leading line.
Marty’s photo from the Yosemite National Park looks great as if ready to be printed and hung on a wall.
Robert shared this black and white photo of a rocky terrain with so many layers of interesting textures, under beautiful light.
Stylized Sunflower Edit by Patrick is a beautifully executed shot and is processed well. The film look adds more drama and atmosphere to the photo.
Patrick also has a few threads in the forums where he posts his black and white images and other series. They’re very unique, creative and worth a look!
The Ethereal Mist by Light and Shadow looks almost otherworldly.
Rob started a Throwdown: Your Pets – Share photos of your pets here. Rob and Patrick have already shared their pets’ photos.
And, there are images posted in the Shark Tank forum where members request for constructive criticism on their photos.
If you’d like to join in with our members, feel free to join us on the forums. We’d love to see you there, and we are a friendly bunch.
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My best photographs are usually a surprise to me. Long after I’ve made them, they feel familiar and almost inevitable as I look back on them, but not one of them could I have really ever anticipated at the time. The light, the composition, even the subject—I often never see them coming. Sometimes, the surprise is that the image even worked at all, as is the case with my image of a common merganser in flight against golden water.
Last week I once again found myself sitting on the banks of a northern river—the aspens just starting to turn gold, the air full of the smells of autumn. I was there for three short days to photograph grizzly bears, and while I came home with a couple of photographs I love in which a bear is the star of the show (below), the one I am most in love with, and surprised by, is my golden merganser (above).
Back to the merganser. The simple version of “here’s how I made this photograph” is this: 1200mm (600mm + 2x), 1/30s, f/10, ISO 125.
To begin with, this was supposed to be a photograph of a bear; that’s why I was there. But in this moment, the bear had chosen to be elsewhere, ignoring (not for the first time) the art director whose directions about the art had been clear: be there. He wasn’t. While I waited there, the river rushing past me, I had time to look around and really take things in. A patch of river to my left caught my eye, the reflections of the aspens turning the otherwise silty water a beautiful gold. The odd merganser (but then all mergansers are a little odd, are they not?) would drift through that water, and eventually I turned my lens towards them.
Mergansers are weird little diving ducks. They bob and weave through the water, ducking below the surface to fish before coming up and thrashing around and flapping their wings in something that looks like a bit of a ritual and a little bit like a seizure. Drying off (or showing off), they’re goofy little creatures, and if you watch them long enough, your indifference towards them can turn to fascination, even affection. And I don’t say that lightly because I am not (emphasis heavily my own, and a little defensive, which is hard to show with italics) a birder. I digress.
It was in one of these moments of fascination, the bear long forgotten (but seriously, where was he?), that it occurred to me that my efforts to photograph these birds were not stirring my imagination. They were still just ducks on the water, and the behaviour that most interested me was translating poorly into a photograph at 1/1000s: just very sharp pictures of ducks.
For a moment, I turned my attention to the moving water, spun the shutter to 1/30s, and started playing with the shapes and colours as blurred by the slow shutter speed. There was something magical in that. I know, it should have all been so obvious to me, but it took a while to shift my thinking from the literal to the more creative. Now I needed a merganser in that moving water!
It is not uncommon for my photographs to improve dramatically when I finally say “f*ck it!” and start to play, to experiment with my process with no real concern for the resulting image. It’s a shame I can’t get there faster, but it seems necessary for me to pass through the boredom and the “nothing else is working” first. By the way, I’m trusting you to keep this to yourself: I’m pretty sure the “real photographers” out there can jump straight to the part where they make brilliant images, but that’s never been my path, and I would hate for them to find out just how defective I really am.
I’d like to now explain the magical thinking that ultimately led me to make this image, which I am very much in love with, but I can’t. That’s usually what happens when you’re playing. One “let me try this” leads to “that didn’t work at all” which leads to “hey, this might be cool!” and somewhere in there I saw one of these daft birds taking off, which is a hell of a process and exhausts me just watching it, so I panned with it in a wild “this will never work.” And that’s when the magic happened.
No it didn’t. Not even close. It was a disaster. It didn’t work at all. Some frames were just a little blurry head sticking into the frame; others were nothing but tail feathers, also very blurry. Sh*t! Sorry, I say salty words when I play and start to get too invested in the results. But I saw something I liked. A glimmer of hope. So I tried again. And again. And after years of talking about panning and knowing exactly how to do it (even pulling it off once every couple of years or so), one of the frames was good. It made my heart leap. Not perfectly sharp, but that wasn’t really the point. Perhaps perfectly sharp would have ruined it, I don’t know. To me, it was poetic, and that’s better than perfect. To me there’s an echo of Robert Henri’s “paint the flying spirit of the bird, not its feathers.” I loved it, and there was no “I love it, but….” Just that giddy feeling you get when you make something that thrills you—something that feels like magic.
For those of you who skipped to the end: I just used a long lens, a slow shutter speed, and panned with the duck. Easy peasy. 😉
For the Love of the Photograph,
David
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Lightroom is a versatile program that has evolved over the years and comes with amazing tools that makes it a one stop platform for most beginner and experienced photographers. Most professional photographers rely on Lightroom because of the efficiency in batch processing files, making it a great hit among many wedding and event photographers including others.
Besides, various features that help photographers organise their photos, sharing them as catalogs, using the creative cloud feature, etc., has made Lightroom a go to program for many photographers. If you are looking to improve your Lightroom skills or wish to learn more about the features that you do not use, here are a number of tutorials that will help you to understand Lightroom better.
Photography is about spending time capturing images with your camera and spending little amount of time post-processing the images. There are times when photographers may hate editing or maybe need a quick boost to their images without spending much time. Lightroom comes with tools that can make editing a breeze. Read to find more!
It doesn’t matter what program you use for editing, but it is important to have a specific workflow that can help you work faster and more efficiently to produce great results. Light room comes with rating systems, labels, tags, import settings, etc., that can make your work easier. This article shows how you can streamline your Lightroom workflow and save time.
Photographers have a huge collection of photos from each session most of the time and sometimes photos are also scattered across several hard drives. It would be great to organise the photos and find the ones we’re looking for easily, without having too much trouble. Here are some ways to organise your images using lightroom.
Lightroom comes with a lot of powerful tools, most of them packed in the “Develop” module and most of the time if the image is captured well in camera, there are only a few subtle edits one needs to do, to make an image presentable. Some tools like the clarity, texture, dehaze and sharpening, if not used well, can make the image look overprocessed or awkward. This article talks about five subtle tools you should learn to use in Lightroom.
If you are someone who has interests in architectural photography, chances are that when post-processing, you will need to correct the verticals and remove lens distortions. This may also apply sometimes to other genre in photography. This article talks about the transform and lens correction tools in Lightroom and why you need to use them.
Lightroom provides a lot of tools to make a photographer’s workflow easier and faster. There are a lot of little things that photographers need to know in order to use this program efficiently. Who doesn’t love hacks in order to get editing jobs done easily? This article provides 10 hacks for Lightroom classic.
The recent updates over the past year use AI technology to reduce the amount of time required to work on certain tasks within Lightroom. Some of these tools were not available in older versions of Lightroom and they can come in handy if required. Here are some quick but useful Lightroom tools that you should know.
Lightroom as simple as it may seem, has some really powerful masking tools that make selective editing quite easier for photographers. Depending on what you need to mask, there are various masking options – using just a brush or select objects, subjects, sky, background, etc. Here is a quick guide on how to use the masking tool in Lightroom for the best results.
Besides the basic colour corrections and other important tools that Lightroom provides, there is a separate section to colour grade photos if you are someone who wishes to bring in a cinematic or another specific look to your images. Lightroom has three colour wheels, one each to control the colours in the shadows, mid-tones and highlights. Check out this article to find out how to use these wheels.
If you want to work faster in Lightroom, you need to get into your Lightroom settings and makes some changes to improve its performance. Many beginners may not be aware of these settings. Most of the issues arise when working in the develop module or even the simple process of scrolling across to the other images may be slower. Here are some ways to get better performance in Lightroom Classic.
Some users may not be aware of the fact that Lightroom can also be used to edit videos. Although it does not have any advanced tools for video editing, if you are someone who occasionally captures a couple of videos and wishes to make some basic edits, then Lightroom can be useful if you do not want to invest in other expensive video editing programs. Here are the pros and cons along with how to edit a video using Lightroom.
Lastly, if you are someone who likes to make edits on the go on your mobile device, Lightroom has a mobile app that can also sync your edits via creative cloud so you can continue from where you left, when working on this app from your computer. Here is a quick guide to using the Lightroom mobile app.
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The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Today’s featured artist: Lauren Grabelle
In 1996 I was living 5 miles away from the Mashantucket Pequot Reservation where the Schemitzun Powwow was being held — the largest powwow in the country at the time. It was my first powwow and was the most visually and aurally stimulating experience I’d ever had — a fantastic blur of motion and sounds — but one dancer stood out to me, and I could not take my eyes off of him. I don’t believe I had ever approached a stranger for a portrait at that point but knew I had to do so. The huge tent was packed with people and I eventually found him and asked. He said yes, maybe later.
At some point I left the grounds and returned later that day. On my drive back to the powwow I saw him driving past me in his little sports car which was something you don’t see often on the country roads of Connecticut. When I found him again later in the large crowd, I had to think quickly about how and where to photograph him — the tent was dark and crowded and it was raining outside. I figured he was a car guy, and I suggested we photograph him in his car: out of the rain and in a space he would be comfortable. That idea led to this series of photos of “Tommy in His Car”. Or as a friend of his has since said “Tommy in His Iron Pony”. The first image below is my favorite, but I love pairing it with the second image as real life is both moments of quiet study and moments of connection. The third image below is now included in Ken Burn’s Our America: A Photographic History.
To see more of this project, click here
Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.
Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.
As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.
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OM System has announced the OM-5 Mark II, a “refined” version of the company’s mirrorless interchangeable lens Micro Four Thirds camera. The core of the camera hasn’t changed a great deal from the original Olympus OM-D EM-5 Mark III: You get the same 20-megapixel Live MOS sensor powered by the TruePic IX image processing engine, autofocus courtesy of the 121-point cross-type on-chip phase detection system, and the same five-axis image stabilization. It also retains its IP53 rating—one of very few interchangeable lens cameras to feature this rating for splash and dust proofing. The camera still delivers 10fps continuous shooting with the mechanical shutter, and is capable of shooting 4K/30p and 1080/120p video with no crop.
Otherwise, the changes are relatively minor though welcome: There’s now a USB-C port (as opposed to the predecessor’s microUSB), a new dedicated “CP” button has been added to the top plate for accessing the camera’s computational photography capabilities (but it can be reprogrammed), and the menu system has been upgraded along the lines of that in the OM-3 and OM-1 Mark II, which should improve usability significantly. The OM-5 Mark II also integrates the company’s OM-Cinema Video Profiles.
Available now from retailers such as Backscatter, the OM-5 II costs $1,200 body-only or $1,600 with the 12–45mm f/4 PRO lens as a kit.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
Introducing the OM SYSTEM OM-5 Mark II Mirrorless Interchangeable Lens Camera
Evolution Where It Matters Most. Trusted Outdoor Performance, Now Refined
BETHLEHEM, PA, June 17, 2025 – OM Digital Solutions Corporation proudly announces the launch of the OM SYSTEM OM-5 Mark II, a refined mirrorless interchangeable lens camera built for outdoor creators who demand reliability, portability, and real-world performance.
An evolution of the highly trusted OM-5 family, the OM-5 Mark II brings targeted upgrades where they matter most—based on feedback from creators who live for the outdoors. Compact, lightweight, and featuring splash & dust proof construction, it remains a trusted companion in all terrains and weather conditions.
The OM-5 Mark II improves what photographers value most. Enhanced handling, new creative tools, and dependable performance are packed into a rugged Micro Four Thirds system body that’s ready for adventure.
Key Features of the OM SYSTEM OM-5 Mark II:
At OM SYSTEM, we believe creators deserve tools that support their vision without adding bulk or complication. The OM-5 Mark II is a camera built on trust—refined for those who explore more, carry less, and demand real performance from their gear.
Pricing & availability for OM SYSTEM OM-5 Mark II
Note: Sand Beige version is not available as a kit.
Launch Offer
2 Year Extended Warranty with Purchase of OM-5 Mark II
June 17–July 31, 2025, all orders of OM-5 Mark II body or kit will receive a complementary 2 Year Extended Limited Warranty, which extends the limited warranty coverage to 3 years total from original purchase date.
Detailed product specifications for the OM SYSTEM OM-5 Mark II
Please see the OM SYSTEM website for detailed product specifications: https://explore.omsystem.com/om-5-mark-ii?olycmp=aff-om5ii_opr_jun25-pr-nala-link-om5ii_mpdp
OM SYSTEM OM-5 Mark II Features & Technology Detail
Compact, lightweight system with excellent mobility for capturing inspiring outdoor shots easily
This model is equipped with in-body 5-axis Image Stabilization which provides up to 6.5 steps2 of shutter speed compensation at the center, and up to 5.5 steps2 at the corner. When paired with a compatible lens3, 5-axis sync IS delivers up to 7.5 steps4 at the center, and up to 6.5 steps at the corner4. Powerful image stabilization enables hand-held shooting in a wide range of conditions, and the compact, lightweight system makes it possible to instantly react to photo opportunities encountered outdoors.
The camera is compatible with a USB Type-C connection, allowing it to be charged/supplied with power by a power bank. This design allows users to enjoy shooting outdoors without worrying about battery life.
Designed for the outdoors, OM-5 Mark II now comes in three body colors, including the all-new Sand Beige.
An ergonomic grip with finger rests that provide a secure, comfortable hold while shooting. The smooth, streamlined top makes it easy to wipe away dirt and dust during your adventures.
To match its outdoor personality, the OM-5 Mark II comes in two trusted classics—Black and Silver—and a new, exclusive Sand Beige version, created to blend with natural environments and reflect the tones of rock, earth, and desert. This edition celebrates the spirit of adventure and the beauty of outdoors.
Worry-free shooting even during changing weather, such as sudden rain, with splash & dust proof performance (IP531)
The design includes sealing throughout, delivering IP531 protection class splash & dust proof performance with freeze-proof protection to –10°C, the same high level of weather resistance as the OM SYSTEM OM-1 Mark II flagship model. Thanks to this design, users can keep focusing on photo opportunities while enjoying the outdoors even in punishing shooting conditions without having to worry about damage from sudden rain, snow, or water spray—like that from waterfalls.
The OM-5 Mark II is also equipped with the Supersonic Wave Filter (SSWF) Dust Reduction System, which is renowned among professional photographers worldwide. When the camera is turned on, the SSWF vibrates at a super high speed over 30,000 times per second to instantaneously remove dust and dirt. It eliminates dust and dirt stuck to the image sensor, keeping it from ending up in shots, and making it possible to swap lenses with peace of mind outdoors.
Powerful computational photography tools built for creativity on the go
Compositing techniques that were once only possible through post-processing on a computer are now built directly into the OM-5 Mark II, thanks to its advanced computational photography capabilities. Simply capture an image and unlock new photographic expressions with the latest digital technology.
The OM-5 Mark II introduces a dedicated CP (Computational Photography) button, giving creators immediate access to powerful tools that once required complex software. With a quick turn of the Control Dial, users can easily switch between:
Live ND, for example, lets you photograph scenes with moving elements—such as flowing water, drifting clouds, or swaying trees—with a silky, dreamy effect, all without needing to carry physical ND filters. It simulates the long-exposure effect directly in-camera, even in bright daylight.
Also included are features like Live Composite, which allows real-time monitoring of long exposures—ideal for capturing star trails, light painting, or fireworks—and Pro Capture, which begins buffering images as soon as the shutter button is half-pressed, helping ensure you never miss the perfect moment.
New Night Vision, Starry Sky AF and Handheld Assist modes make photographing the night sky more accessible and enjoyable, helping you capture the beauty of a starry sky without a tripod.
Additional Features
Related Accessories
F-5AC USB AC Adapter (available now): The battery can be charged in the camera when connected to the USB cable included with the OM-5 Mark II.
Suggested retail price: $29.99 USD / $34.99 CAD
RM-WR2 Wireless Remote Control (available now): This wireless remote-control features IP57 class6 splash & dust proof construction, enabling remote shooting (communication range: within 10m of the camera body) in any kind of environment when connected to the OM-5 Mark II. It also features an energy-saving design that uses Bluetooth® Low Energy for communication, which can be used to start and stop video recording. It includes a cable for use as a wired remote control.
Suggested retail price: $99.99 USD / $139.99 CAD
Supporting Software and Apps
OM Image Share App (OI.Share): This smartphone app is used to connect to the camera via Wi-Fi, transfer shooting data, and perform remote operations. On the OM-5 Mark II, OI.Share can be used to update the firmware on the camera body and backup/restore camera settings.
OM Workspace image editing software: This image editing software includes advanced RAW processing and editing features. It allows processing settings that can be applied on the camera and editing such as tone curve and dehazing. In addition, the AI Noise Reduction function for RAW processing7 is equipped. Applying this function when processing RAW files shot with a supported camera8 generates clearer images.
1. When paired with a relevant splash & dust proof lens (according to lens standard). This does not apply during charging or HDMI connection.
2. CIPA2024 standard compliant. Yaw/Pitch/Roll compensation performance, M.ZUIKO DIGITAL ED 12-45mm F4.0 PRO at a focal distance of f = 45mm (35mm equivalent f = 90mm)
3. Check the product site for information on compatible lenses.
4. CIPA2024 standard compliant. Yaw/Pitch/Roll compensation performance, M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO at a focal distance of f = 100mm (35mm equivalent: f = 200mm), halfway shutter release button IS: OFF
5. 21.77 million pixels
6. When connected wirelessly. IP51 when connected via a cable.
7. The additional program AI Noise Reduction must be downloaded. There are limitations on computers that can use this feature. Please see the online compatibility table for further details.
8. Supported cameras: OM SYSTEM OM-5 Mark II, OM SYSTEM OM-3, OM SYSTEM OM-1 Mark II, OM SYSTEM OM-1, E-M1 Mark II, E-M1 Mark III, E-M1X, OM SYSTEM OM-5, E-M5 Mark III. Additional programs and supported data must be downloaded.
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Macro photography is fascinating and it reveals a lot of hidden details of the natural world and of manmade objects, that wouldn’t be seen otherwise. When it comes to macro photography, lighting is very important. Although a lot of photographers make use of artificial lighting setups to capture macro images both indoors and outdoors, natural lighting is always the best option and will yield the most beautiful, natural looking images.
When it comes to natural light, depending on the location and subject, the right light needs to be chosen. Soft light that illuminates the subject rom the side at an angle can be a great choice for macro photography. Learning how to use available natural light can go a long way in capturing stunning macro photographs. Here are 25 macro photos that are captured using natural light.
Artificial lighting is an investment and not many photographers want to invest in additional accessories or take the extra measures in setting up the scene with the desired lighting. Natural day light is always available and learning how to use it creatively, even under tricky light situations is a skill. If you are feeling stuck with using natural light all the time in your photography, we would recommend you to check out this course “Mastering Natural Light” by Photzy. It has over 3 hours of educational content that includes multimedia lessons, case-studies, diagrams, exercises and more that will help you to master natural light.
When talking about natural light for photography, people often settle down for the most glorious golden hour and sometimes the diffused light on overcast days. This makes some photographers believe that other lighting situations are not ideal for photography, which is not true. Check out this course “Mastering Natural Light” by Photzy that talks about the role of light in photography and also where you will learn why there is “No’ bad light for photography.
When we hear about natural light for photography, we immediately think that shots need to be captured outdoors in order to use natural light. In fact, windows are great sources of natural light indoors and the light coming through it at different times of the day can help to capture varying moods. This course “Mastering Natural Light” by Photzy goes in depth into the fundamentals, understanding of natural light and working with it, important relationship between natural light and post-processing and a comprehensive guide to the different kinds of natural light.
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Nearly a month has whizzed by and the Sixth Think Pink Photo Competition is closing very soon. This is your last opportunity to show us your awesome PINK pictures and support the fight against breast cancer! The deadline for submission is August 31st, 11:59pm EST!
In case you didn’t already know, the contest is organized by nonprofit organization Dive into the Pink, and hosted by DPG, with this year’s judging panel made up of pro underwater shooters Shane Gross, Richard Barnden, and Tanya Houppermans. Entry is via donation to Dive into the Pink ($15 per single entry, $35 for three entries, $50 for five entries).
Images can be entered into two categories, Macro and Wide Angle, and can have been taken anywhere, anytime. This year’s amazing prize sponsors include Crystal Blue Resort, Anilao, Philippines, Lissenung Island Resort, Kavieng, Papua New Guinea, Backscatter Underwater Photo & Video, Marelux, Kraken Sports, and Ultralight Camera Solutions.
Dilly-dally no longer, photographers! Let’s see PINK PERFECTION!
Please read the full Rules and Guidelines (on DiveIntoThePink.org) before entering.
About Dive into the Pink
Dive into the Pink, Inc. was started in 2015 by Allison Vitsky, a breast cancer survivor, veteran scuba diver, and underwater photographer, who wanted to raise money to fight cancer in an unconventional way—by going scuba diving with friends.
Most of its funds are split between the Young Survival Coalition (YSC) and the Guise Laboratory at M.D. Anderson Cancer Center. The YSC is an international organization dedicated to the critical issues of young women with breast cancer—specifically, Dive into the Pink supports and promotes the YSC’s incredible patient support network. The Guise Laboratory is part of the Department of Endocrinology at Indiana University; funds are earmarked for a project examining whether characteristics of the bone marrow microenvironment can alter or promote the spread of breast and other cancers to the bones.
Dive into the Pink is a salary-free, low-administrative cost 501c3 organization.
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