GLOBAL PRO GALLERY
Born in Tokyo in 1969, Mr Hirota travels through Japan and the world on photographic expeditions to capture the enjoyment of railway travel and the beauty of the trains themselves, show casing his pictures at photographic exhibitions.
He also plans, produces, and runs many railway photography events.
I still felt that SLRs were dominant when it comes to photographing moving subjects. However, this camera not only matches the performance of SLRs, but actually goes beyond.
Because it acts as the photographer’s first point of contact with the subject, I believe the viewfinder is extremely important in shooting photos. You will notice the E-M1 Mark II’s viewfinder screen is very detailed. Moving the camera up, down, left, and right proves that the issue of time lag is virtually nonexistent. I was surprised that my view of the subject through this electronic viewfinder seemed natural. To me, this is the greatest advancement on this model.
Next is an item that doesn’t really show up in the specification list -- the excellent grip. Including the shape of the thumb area, the grip is designed for a secure hold. Although train photography generally consists of movement, I tried 50M High Res Shot for static images of station snapshots and trains sitting still. In the image you could see the cold metal edges, the allure of paint, and the texture of oil on locomotives.
I used Pro Capture to shoot the moment the train came out of the tunnel. In this type of scene, it is too late to activate the shutter if you can already see the train. This feature makes it possible to move on to subsequent shots in a type of scene where concentration time is short. Every day I capture a number of shots of moving subjects that require good timing. As a pro who engages in this kind of shooting, I’m amazed that this camera does not make me tired. Because I still have plenty of energy for the second half of my trip, I feel like I can capture something I never have before.