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Photographer Chris McGinnis has by no means taken a macro {photograph} within the area with a tripod in his complete profession as an OM SYSTEM ambassador. The cause is easy: mobility trumps stability while you perceive the workarounds. Through a mixture of superior picture stabilization, field-tested methods, and strategic flash use, McGinnis captures beautiful close-up images of bugs, spiders, and different topics whereas sustaining the liberty to react, reposition, and discover. McGinnis proves that the obstacles to handheld macro work are decrease than most photographers assume.
Full disclosure: This article was dropped at you by OM SYSTEM
The OM SYSTEM Holiday Specials are dwell now! Save as much as $400 on virtually each digital camera and lens that OM SYSTEM makes, together with the OM-1 Mark II, the OM-3, the M.Zuiko Digital ED 12-40mm F2.8 PRO II, and the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. Check out OM SYSTEMS Holiday Specials and take your pictures to the subsequent stage.
Chris McGinnis didn’t at all times focus on documenting the tiny worlds most individuals overlook. He spent years capturing movie within the Nineteen Nineties earlier than graduating from Moravian University in Bethlehem, Pennsylvania with a level in graphic design. A decade in the past, he grew to become obsessive about different photographer’s macro work and located his calling. Today, as an OM SYSTEM ambassador, McGinnis produces world-class close-up pictures, largely inside a couple of miles of his Bethlehem residence, proving that compelling close-up pictures doesn’t require unique locations or complicated gear.
His method to the craft is refreshingly trustworthy. “When I first got the 60mm macro lens, I couldn’t figure out how to make the photos jump off the screen like the photographers that I was trying to emulate, so I put it away for almost a year,” McGinnis admits. That early battle grew to become the muse for mastering handheld macro pictures near residence.
That close to year-long hiatus along with his 60mm macro wasn’t simply frustration. It wound up being a turning level. McGinnis felt like he couldn’t get dynamic pictures it doesn’t matter what he tried, and the lens sat unused whereas he wrestled with whether or not macro pictures was even for him. Eventually, he determined to cease at nothing till he might seize compelling close-up photographs.
“I finally said no, I’ve got to dust this thing off and learn how to make compelling images with it,” McGinnis recollects. “My images were good, but the subjects weren’t looking as dynamic as they could have been. I then noticed the macro photographers that I followed all used flash. I’d never shot with a flash before, but I put one on my camera, went out into the field, found this little fly, and took my first flash macro shot. That moment changed everything. I realized a flash was the key to capturing the dramatic look that I’d been missing.”
The discovery wasn’t nearly higher lighting. Flash essentially altered what shutter speeds grew to become doable for handheld work. “The flash unlocks a world of possibility in handheld macro work,” McGinnis factors out. “Virtually all of my macro photos are shot at 1/100th of a second or slower. Without a flash, shooting handheld at those speeds is more difficult. You’re fighting camera shake and subject movement. With a flash, it becomes easy. I can shoot with one hand in an awkward position and still get sharp images loaded with detail because the flash freezes everything.”
The proof got here shortly. McGinnis photographed a praying mantis utilizing a 38-shot focus bracketing sequence, capturing your complete collection in about 5 seconds. “The multi-shot focus bracketing technique allows me to capture dozens of photos with different focus points,” McGinnis explains. “I can then merge them in post-processing to make sure that every inch of my subject is tack sharp. This technique only works when the subject cooperates briefly, but flash makes those narrow windows of opportunity viable. I just need to find that brief window when the subject stays still, and the flash gives me the speed I need to work within those moments.”
McGinnis emphasizes his flash workflow delivers an often-overlooked profit past movement freezing: cleaner picture high quality by way of persistently low ISO.
The Base ISO Standard
“Most modern OM SYSTEM cameras have a low native ISO of 200,” McGinnis explains. “That’s going to give me the cleanest result because the sensor is engineered to perform optimally at that setting. While higher ISO can still be leveraged to deliver great results, the absolute cleanest images are made at ISO 200.”
The Flash Advantage
“If you have a flash, you can shoot at or near ISO 200 virtually all the time,” McGinnis notes. “Without the sufficient light a flash provides, you can’t always shoot at ISO 200. Having a flash allows you to get images that look sharper because they’re less noisy and have cleaner detail.”
The comparability to tripod work is instructive. “Yes, you can use slower shutter speeds and lower ISO with a tripod, but you’re stuck in one spot,” McGinnis says. “Also, a slower shutter speed can make your subject appear blurry if they move, even slightly. With a flash, you get those benefits at ISO 200 and can move around freely.”
When to Break the Rule
Higher ISOs can be utilized to convey ambient shade into scenes, when glare from flash begins to look too intense or unnatural, or when capturing with out flash. McGinnis accepts the trade-offs when artistic profit outweighs technical price.
Flash solved the sunshine and the shutter pace downside, nevertheless it’s just one piece of a three-part system that replaces tripod stability.
The first element is expertise. “My OM-1 Mark II has five-axis in-body image stabilization that works together with the built-in stabilization in lenses like the 90mm F3.5 Macro IS Pro,” McGinnis explains. “This combined stabilization system is what makes shooting handheld at 1/100th of a second viable for me.”
The second element is area craft. “Without a tripod, keeping the camera stable is still critical,” McGinnis factors out. “I’ll lay flat on the ground, lean into trees, or rest my camera directly on the ground. Nothing’s more stable than the ground itself.”
The third element circles again to flash. “While the image stabilization handles my movement as the photographer, the flash freezes the subject’s movement through its brief duration,” McGinnis notes. “It’s a complete system.”
McGinnis tells a narrative a couple of Polyphemus moth that illustrates why understanding this technique issues. One night, he noticed one in all North America’s largest moths on a tree. “You have to understand the opportunity and take the right approach,” he stresses. “I knew I needed a lot of shots to capture the moth’s body details, so I set my OM SYSTEM camera for focus bracketing, so I could combine them later into a single image with extended depth of field. Focus bracketing is incredibly valuable for overcoming the shallow depth of field that’s inherent to using macro lenses from short working distances. when using a macro lens, since it creates significant background blur that can cause lost details.”
Normally, McGinnis would take single photos first to make sure he captured one thing. “I could feel that I didn’t have long with this moth, so I propped myself up against a tree and shot 40 frames at f/8 and 1/100th of a second. The instant the final shot fired, the moth flew away high above the trees, never to be seen again.”
Without the steadiness trinity, that 40-shot sequence would have been unimaginable. The picture stabilization stored his pictures sharp, area craft offered the muse, and flash froze each his actions and the moth’s potential shifts.
Understanding the system, nevertheless, doesn’t imply it’s straightforward to grasp it.
The stability trinity permits handheld macro work, however McGinnis warns towards dashing straight into the sector. “You’re setting yourself up for failure without a practice progression.”
McGinnis developed a three-rung ladder that forestalls the discouragement that almost ended his personal macro journey.
Rung 1: Indoor Inanimate Objects
“If your goal is to photograph insects, spiders, frogs, and other creatures out in the wild, you most likely won’t succeed if you can’t photograph a Lego figure on your desk in your home office properly,” McGinnis stresses. “Start with small inanimate subjects under controlled circumstances where you can perfect your technique, understand your gear, learn how to use your body to create stability, and get comfortable with the entire process before you ever step outside. Coins, watches, things that are reflective, and things that have texture are all great to practice with. If you can’t do it in controlled circumstances, it will be incredibly difficult to do it out in the field.”
Rung 2: Outdoor Inanimate Objects
McGinnis recommends graduating to seeds, grass blades, and leaves. Environmental variables like wind enter the equation, however the topic received’t flee. “These objects are great to practice focus bracketing on, as you can take your time learning how to set up and capture the images,” McGinnis says. “Automatic focus bracketing is built into my OM-1 Mark II, but you can do focus bracketing with any camera, although with a little more manual work of shifting the focus after every shot.”
Rung 3: Slow, Cooperative Subjects
“Sometimes people won’t photograph pigeons or seagulls because they’re commonplace and boring,” McGinnis states. “But they’re just like the other birds, and they’re great practice subjects. The same applies to close-up and macro photography. Stink bugs and caterpillars might not be glamorous, but they’re cooperative and slow-moving. If these insects don’t inspire you, you might not post these photos to your Instagram, but you can build real skills by taking them. Then when the time comes and the opportunities are fleeting with your dream subject, you have a better chance to capture compelling photos.”
Understanding when to make use of every focus method is as essential as mastering the methods themselves. McGinnis approaches each topic with a transparent determination framework.
Path A: Nervous Subject or Subject You Have Never Photographed Before → Singles
“When I find a subject I’ve never photographed before or I’m nervous it will disappear, I start with single shots,” McGinnis explains. “I shoot from fairly far away to get something on the memory card, then inch closer until I’m composed and close enough. If I reach that point, then I consider in-camera focus stacking, since the focus on a single shot, especially on a macro lens, will fall off and create a shallow depth of field on my subject.”
“My priority is securing something, even with shallow depth of field, before the opportunity vanishes,” McGinnis says.
Path B: Cooperative Subject That Won’t Move → In-Camera Focus Stacking
“My OM-1 Mark II has in-camera focus stacking, which allows you to capture and composite up to 15 frames with different focus points automatically in the camera, delivering a finished image with sharp details throughout my subject within seconds,” McGinnis states. “The result appears on the back screen immediately.”
“Frogs are perfect candidates for this OM SYSTEM feature,” McGinnis insists. “When you get a cooperative frog staying still, in-camera focus stacking produces excellent results on their skin texture. I activate it, shoot the sequence, and see the finished image immediately. That instant gratification is wonderful.”
“The limitation of the approach is the maximum of 15-frames and the requirement that the subject stays completely still during the automated sequence, but for many of the subjects that I photograph, this is a fantastic approach,” McGinnis concludes.
Path C: Subject Might Move Or Need More Than 15 Shots → Focus Bracketing
“If I don’t know if the subject will move or if I need more than 15 images, I use in-camera focus bracketing,” McGinnis describes. “I set my focus in front of the subject and take automated shots. The focus shifts back from shot to shot. If my subject moves, I stop, move with it, and try again. If it stays still, I can rapidly take multiple bracketed series.”
“This approach requires post-processing in software like Helicon Focus, OM Workspace, or Adobe Photoshop, but the nimbleness makes it worthwhile for unpredictable subjects,” McGinnis continues “In my backyard looking for wolf spiders or jumping spiders, I use a lot of focus bracketing,” he provides. “I can react to movements and change angles fast.”
The Secondary Decision: How Much Depth of Field?
McGinnis says that topic complexity determines depth of area wants. “Smooth-skinned frogs blend well in 15-frame stacks,” he describes. “Hairy spiders with complex leg structures need more frames to maintain detail throughout their body. Higher magnification causes greater shallow depth of field, requiring more shots to capture all of the details.”
When Singles Are Right: The Parallel Planes Technique
Sometimes a single shot on the proper angle delivers full sharpness with out stacking. “If you get your sensor plane parallel to the subject, you can create the sense that far more is in focus than you’d expect,” McGinnis states. “When I photograph a grasshopper from the side, I can get the entire length in focus at f/10. I’m aligning parallel to everything I want sharp, so even though my depth of field might only equal a millimeter or two, that’s all I need.”
This works for lengthy topics photographed from the aspect or any state of affairs the place all the pieces crucial occupies the identical focal airplane.
“It’s just a matter of understanding the benefits of all of the processes and the reason why you would use one instead of the others,” McGinnis stresses.
Background management is a strong artistic device in flash macro work, however McGinnis emphasizes it’s a secondary consideration.
“Usually, I’m thinking about the best approach to get a shot first,” he explains. “Once I’ve gotten that shot and something is on the memory card, then I start to assess the background. Do I need to move to improve it?”
The Black Background Mystery
Many photographers see McGinnis’s photos with jet-black backgrounds and assume he shoots at night time. The actuality is easier. “The reason why a black background occurs with flash is because my scene around my subject is underexposed, but the flash lights my subject properly,” McGinnis says. “The flash isn’t lighting anything else because the light hasn’t reached whatever is behind my subject. That background remains underexposed and renders as black.”
If the dramatic silhouette impact works, McGinnis recommends utilizing it deliberately. If not, he describes two strategies to convey shade again.
Method 1: Slower Shutter Speed
“I will drop my shutter speed from 1/100th of a second to 1/50th of a second while reducing flash power to compensate,” McGinnis describes. “This allows more ambient light into the exposure, revealing background colors and context. The trade-off is requiring more stability from the photographer and potentially introducing motion blur if the subject moves.”
Method 2: Closer Background Elements
“Sometimes you can bring elements into the scene to add interest,” McGinnis says. “I’ll look for out-of-focus leaves or branches, and if they’re just out of frame, I might adjust my angle. That simple action can bring color or texture into the background without disrupting the subject.”
“The OM SYSTEM FL-700WR flash has variable power settings that make these distance adjustments practical when I’m out in the field,” McGinnis notes. “I pair it with a Cygnustech diffuser to soften the light and lower contrast.”
Image stabilization and flash freeze movement, however McGinnis stresses they don’t assure that the precise space of the topic will probably be sharp. “You could have a shot that’s sharp, but the focus is not where you want it,” he describes. “Sharp means frozen without motion blur. In focus means your intended area is actually the sharpest. In that split second between acquiring focus and pressing the shutter, if you move even slightly, you lose your intended focus point. You need to be stable and nail your focus.”
McGinnis factors out that point training handbook concentrate on static objects at residence prepares him for fulfillment within the area. “Manual focus in today’s cameras is incredibly powerful. On my OM-1 Mark II, I can zoom in right on a spider’s eye, and thanks to features like Focus Assist Magnification and Focus Peaking, I feel comfortable nailing that focus almost every time.”
The Patience Paradox
McGinnis identifies two widespread errors that sabotage close-up pictures alternatives.
“A common mistake is rushing in,” he notes. “We get excited when we find a subject, rush the approach, and the subject flies away. I’m guilty of this even after years of experience.”
The second mistake is transferring too quick whereas looking. “If I stay in one place and examine one milkweed plant or ten-square-foot area for an hour, I’ll find things I would have walked right past,” McGinnis factors out. “It’s unbelievable how much you can find if you slow down and take your time.”
The Five-Second Window
“One of the most popular questions I get is ‘How do you get your subjects to stay still?’” McGinnis says. “There’s no secret. Most subjects don’t stay still for long. I’m looking for those few seconds of opportunity and relying on practice, experience, and predefined camera settings to come together in those small windows.”
McGinnis describes that Wolf spiders dart round, then cease for a number of seconds earlier than transferring once more. Flying topics usually return to the identical perch repeatedly after being spooked. “I set focus, relax, don’t move too much, and the opportunity usually returns,” he advises.
Once McGinnis secures that preliminary seize throughout these transient home windows, he shifts his focus to maximizing the chance.
Working the Angles
When time permits, McGinnis says exploring a number of views improves outcomes. “The first angle might be great, but chances are, with a little patience and creativity, you could get an even better result,” he insists. “Move up, down, left, right, back, forward. The definition of a close-up photo isn’t getting as close as you can. Sometimes when I’m having a creative block, backing up helps reset and capture more keepers.”
The Hundreds-of-Shots Philosophy
“If I find a subject that’s cooperating, I might take hundreds of shots,” McGinnis emphasizes. “I try focus bracketing, in-camera focus stacking, different exposures, backgrounds, angles. We don’t have to show anybody the bad shots. Don’t be afraid to fail. Experiment, work the angles, shoot extensively, then pick the winners.”
Technique and kit allow handheld macro work, however timing dramatically improves success charges. McGinnis’ most profitable close-up images are nearly at all times captured in early morning hours.
The Temperature Advantage
“The first reason why mornings are exceptional is temperature,” McGinnis says. “Insects are cold-blooded and slow when it’s cold. If you can find subjects before or as the sun rises, they haven’t had a chance to warm up and become active yet.”
The distinction is dramatic. “A dragonfly at 5 a.m. allows me to get close,” McGinnis explains. “That same dragonfly in the early afternoon won’t let me anywhere near it. Once the sun comes out, insects are active and it’s harder to get close,” McGinnis describes.
The Dew Bonus
“There’s another benefit in the early hours, and that’s morning dew,” McGinnis provides. “Water droplets covering a grasshopper or dragonfly add an interesting visual element, and that dew slows subjects down. When a bee or dragonfly has dew on it, their wings are heavy and they can’t easily move.”
Morning vs. Evening
Both morning and night supply temperature benefits, however morning has an edge. “In the morning, you’re gaining light, not running out,” McGinnis states. “You’re revealing subjects, not losing them. There’s a psychological advantage to gaining opportunity rather than losing opportunity racing against the sunset.”
The Midday Reality
Active bugs throughout noon require completely different approaches. Telephoto lenses with close-focusing functionality, just like the M.Zuiko Digital ED 50-200mm F2.8 IS PRO, develop into invaluable instruments when proximity is unimaginable. Faster shutter speeds develop into needed.
“The FL-700WR flash performs reliably in low pre-dawn light, and my OM-1 Mark II’s autofocus handles the reduced ambient light effectively, so early morning is my favorite time to photograph the macro world, but you can still get good photos in mid-day, however, the process will be much different. A longer lens is critical, and you will need to rely on natural light as opposed to your flash.” McGinnis concludes.
Macro lenses ship beautiful element, however McGinnis expands his close-up toolkit with lenses which may appear unconventional for the style.
The Wide-Angle Revelation
“The M.Zuiko Digital ED 8-25mm F4.0 PRO focuses from 3 inches, which matches the working distance of my dedicated macro lenses,” McGinnis explains. “What’s exciting about the 8-25mm is I can use it the same way as my 60mm or 90mm because it can focus incredibly close to my subject,” McGinnis states. “I can be right up close and get all that detail in my subject, but also capture the environmental context. When I want to show where the frog lives or how the snake moves through its habitat, I use the wide-angle lens with the same flash and diffuser.”
When his information noticed red-eyed tree frogs mating in Panama, McGinnis seized the chance. “I used my 8-25mm at f/10, getting close enough that I could actually see the diffuser reflection in the female’s eye,” McGinnis recollects.
The Telephoto Advantage
“What’s remarkable about the OM SYSTEM telephoto lenses is they offer close-focusing capabilities that are rare in the category,” McGinnis states. “With my 40-150mm, 50-200mm, 150-600mm, and 150-400mm lenses, I can get just a few feet from a subject and still focus on it. That is just not possible with most telephoto lenses.”
This functionality opens the likelihood for high-magnification work with skittish topics. “When I’m looking at dragonflies, butterflies, frogs, or other subjects that won’t let me get super close, I can use these lenses to bridge that gap,” McGinnis explains. “I can get right into that bubble where the subject might get nervous and fly away, but I can still focus and capture high-magnification shots from further back.”
“The 150-400mm F4.5 TC1.25x IS Pro has a built-in teleconverter and focuses from just over 4 feet,” McGinnis describes. “I used it to photograph a plumed basilisk lizard from a moving boat in Panama. There was no way to physically get close. We’re on a moving boat with water between us. I zoomed all the way in, shot at f/5.6, 1/500th of a second, ISO 4000. Even with all that movement, I got a sharp, clean shot.”
“The 150-600mm F5.0-6.3 IS provides similar close-focusing capability at a more accessible price point,” McGinnis provides. “I used it for a monarch butterfly early one morning, getting down in the grass with my lens on the ground,” he recollects. “At f/6.3, the butterfly remained sharp while everything else painted into a beautiful blur.”
“These aren’t technically macro shots in the one-to-one magnification sense,” McGinnis clarifies. “But the close-focusing capability delivers high-magnification results from distances that preserve the subject’s comfort, which is exactly what I need.”
McGinnis produces world-class macro work from Bethlehem, Pennsylvania, a metropolis that doesn’t seem on macro pictures vacation spot lists.
“Macro and close-up photography offer us a unique opportunity to make compelling images without needing to travel to exotic places,” McGinnis emphasizes. “You don’t have to travel to make compelling work. Regardless of where we live, incredible scenes are waiting right outside our doors. The subjects are there. You just have to slow down and look closer at the miniature world.”
Finding Local Opportunities
McGinnis recommends planting native wildflowers in your yard to mechanically entice native insect species. When milkweed appeared in his yard, it introduced monarch butterflies with it. Local parks usually keep pollinator tasks with unmowed areas. “They save mowing costs, and photographers gain access to acres of bustling macro territory,” McGinnis states. “Wetlands also serve as breeding grounds and places worth exploring, since insects begin their lives in water.”
Researching native species is crucial. “I assure you that wherever you are, there are close-up photography opportunities,” McGinnis stresses. “Each location has unique opportunities you won’t find elsewhere. Research what subjects are in your area, learn when and where to find them, and start by mastering those subjects.”
The Own Your Backyard Principle
“You’ll sometimes hear this phrase in business: when a store opens downtown, they appeal to local customers before worrying about those outside their area,” McGinnis describes. “It’s the same concept here. Understand the subjects close by before chasing a species you don’t know anything about in an unfamiliar location.”
The Always-Be-Looking Mindset
“Always be on the lookout for new subjects,” McGinnis advises. “Walk around, look closer, flip rocks, get outside, and you’ll be surprised at what you find. I once discovered a tiger bee fly on my mailbox and a robber fly on a street sign across from my house. Wolf spiders are hard to find, but at night they reveal themselves with a headlamp. Their eyes twinkle like diamonds in the grass.”
McGinnis’ weather-sealed ecosystem, consisting of the OM-1 Mark II, 90mm Macro IS Pro, and FL-700WR flash, permits capturing in sudden circumstances. “We get a lot of rain here, but I never let bad weather discourage me from going outside, as some of the most compelling close-up images happen during and after a rainfall.”
McGinnis notes his precise gear record is refreshingly easy.
The Core Kit
“All I really need when I head into the field is my camera, the OM-1 Mark II, my favorite macro lens, the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO, the FL-700WR flash, and my Cygnustech diffuser,” McGinnis states. “The beauty of close-up photography is you don’t need a lot. Light, powerful, and weather resistant will keep you nimble, energized, and shooting in any weather.”
The Lighter Alternative
The M.Zuiko Digital ED 60mm F2.8 Macro OM gives an much more transportable choice. “If I want to go lighter, or if I’m photographing subjects where I don’t need quite as much magnification, I have full confidence in my 60mm Macro,” McGinnis describes. “Using this lens instead of the 90mm Macro makes an already small, lightweight kit even smaller. This kit is incredibly portable and capable.”
Optional Add-Ons
“The M.Zuiko Digital ED 8-25mm F4.0 PRO OM joins my kit when I am expecting larger subjects like frogs or snakes. The M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO or the M.Zuiko Digital ED 150-600mm F5.0-6.3 IS comes along when distant or skittish subjects are likely to be in the location I am photographing.”
“When I want a light kit with magnification flexibility, I use the Raynox DCR-250 macro adapter with the 60mm,” McGinnis describes. “I opt for the Raynox over extension tubes because it clips on and off the lens easily versus removing the lens to add extension tubes, which can take up valuable time when you are trying to photograph a skittish subject.”
The No-Tripod Freedom
“One of the things I love about macro photography and shooting without a tripod is the minimal mental commitment,” McGinnis emphasizes. “When you have to pack up a bunch of lenses and accessories, it can make the process feel dreadful at times. With my go-to kit, I don’t need to bring much at all. I keep it all together on my desk and I throw it into a small backpack when I want to go out. It just feels easy. I’m mobile, I’m nimble, and I can react to subjects and opportunities instantly.”
McGinnis emphasizes his philosophy prioritizes being current within the area over technical perfection.
“I’d rather be out and miss shots than stay home because I’m afraid of some technical imperfection,” McGinnis stresses. “That’s the mindset that will allow you to make the most of your time, and therefore, create the most successful images. You might take a hundred images, and maybe only 10 are good enough to share. You took 90 images that aren’t quite good enough, but you also got 10 that are and those 10 wouldn’t have happened if you’d stayed home.”
The Learning Curve Reality
McGinnis acknowledges that handheld macro requires follow. “It’s going to take experience and effort to learn how to stabilize yourself,” he notes. “Even with all of the technology at our fingertips, if you are moving or your subject is moving, you’re going to have blurry images. It’s not realistic to expect every single image to be sharp or portfolio worth, and that’s okay.”
The Core Takeaway
“Some of the best images I’ve ever taken happened because I was willing to go out and try things even when conditions weren’t perfect,” McGinnis concludes. “Early morning light, patient fieldcraft, manual focus practice, understanding my subject’s behavior. These fundamentals matter more than any camera feature. The OM-1 Mark II, the 90mm Macro, the FL-700WR flash, they’re tools that make handheld macro possible, but the photographer’s mindset and field experience are what make the images work. Get out, practice, fail, learn, and keep shooting.”
More from Chris McGinnis may be discovered on his website, Facebook, and Instagram.
Full disclosure: This article was dropped at you by OM SYSTEM
The OM SYSTEM Holiday Specials are dwell now! Save as much as $400 on virtually each digital camera and lens that OM SYSTEM makes, together with the OM-1 Mark II, the OM-3, the M.Zuiko Digital ED 12-40mm F2.8 PRO II, and the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. Check out OM SYSTEMS Holiday Specials and take your pictures to the subsequent stage.
Image credit: All photographs by Chris McGinnis.
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