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POR QUE EU NÃO OPERO OPÇÕES BINÁfuture-forex-trading.siteos IQ Option e Olymp Trade!, time: 13:37

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8 45 it s hard to find a better a pocket-size portrait camera. Thanks for sharing your story. Great photos btw. I was a bit disappointed when Olympus decided to kill the Pen Mini line of cameras. I always loved smaller cameras, and was particularly in love with the Panasonic GM series. Still using mine and haven t really felt a need to upgrade it because of the high quality of the images. Zuiko lenses really are amazing quality for the money.

The menu complexity is the only thing i don t like but once set-up-how-you-like-it, there isn t much of a problem. The weatherproofing has worked for me even while shooting birds on exposed beaches in the rain. Really, any of the OM digital cameras with any one of the pro lenses will be enough to get excellent photos without breaking the bank.

I remember being not much impressed with digital cameras until I saw the results from the E-M5. For me it was THE camera that made digital viable, not because of the technology like image stabilization, but simply because of the color and sharpness I was seeing in the results. Sorry, sharpness probably isn t a very precise word to use most lenses being sharp these days I maybe meant to say.

color and details resolved in the images. The images I was looking at were of course the ones on your Shutter Therapy site. The fact that you found the E-M5 to be still good enough, even till this day, is a testament of how many things Olympus got right with that E-M5. I also agree with you that it was the image output that successfully convinced the crowd that the E-M5 is a worthy consideration and a viable alternative to DSLR APS-C cameras. I tried out a colleague s E-M5 once 5 years ago, and it got me attracted to Micro Four Thirds, although I didn t like the slightly mushy buttons.

I didn t have the budget for the E-M5 itself, so I bought in on an E-PL5 and a year later an E-M10. The size and handling of OM-D, especially with the wonderful small MFT primes, has made it a joy to use, and way easier to travel with than a DSLR. Now I ve added an E-M5. 2 because of recent price drops, and a 12-40 2. 8 that s barely bigger than a DSLR kit zoom. Although I never bought one, I guess the E-M5 started my relationship with the MFT system.

It s the lenses that sealed the deal, though. On full frame mirrorless from Canon and or Nikon being a serious threat to MFT, do you think the size weight of lenses could help the MFT system defend its position in the market. Thanks Robin for the article and pictures, hopefully with enough practice I can make some images like that. You are being too kind, Ken. The lenses alone are not enough to justify the micro four thirds advantage for too long. great article, as usual.

However, I don t entirely share you somewhat pessimistic view of the threat to m4 3 that FF Nikon or Canon will pose. THE big advantage with m4 3 has always been the size and optical quality, of course of the lenses and, as shown on this site, there have been big strides in IQ. I think Olympus and Panasonic need to up their game when the full frame Nikon and Canon mirrorless are entering the market.

When it comes to zoom lenses, the faster the aperture and the wider the zoom range will always be in favour of Olympus Panasonic when it comes to bulk. IMO, one of the issues that could be levelled against the Sony 7 series is that the bodies are simply to small for the mass of some of the pro grade lenses. How many buy a camera system actually geared to the eventual output requirements.

And when push comes to shove, and if we photographers are really honest with ourselves, how many really, and I do mean really, need FF, except for bragging rights. I bought an A7 upon its release, but now it is my least favoured camera, and it hardly ever gets used. I realised where my limitations requirements were and no FF camera would change that. Rightfully, though, my comments are not directed to those who do need FF. Replying to my own post, I do know the difference between to and too.

Slap on the wrist for the typo I spotted after posting. It was an expensive mistake for my needs, and I much preferred my Nex 5N, and then my Fuji X-Pro 1 and XE-1. Do we really need full frame. Well it depends on what you do. For example, if I make a living shooting in an extremely dark theater, and I need to shoot beyond ISO6400 even when I am using F1. 8 primes, then I know the Micro Four Thirds system has been stretched it its limit.

There were also situations when more resolution is needed, for commercial jobs things that MT are doing, for example and the Micro Four Thirds just cannot deliver. At least for my own photography needs, both shooting for my clients and my personal projects, I have not gone over the limits of what the system can do, at least not yet. I cannot speak the same for everyone.

Robin, I didn t really say there was no need for FF, just that for the many they don t really need it. For those whose photographic requirements demand it, they re the ones for whom nothing less will do. And in certain cases, as we know, some will have moved on to MF. You make the very valid point and which, in a way, supports my view. I suspect many jump iq option x binarias the FF bandwagon without ever pushing to the limits of their m4 3 or APS-C systems.

What s the camera bag you re using here. the Olympus OM-D E-M5 will always have a special place in my heart. I still occasionally use my E-1 for fun, and I use my E-M5 regularly, besides my E-1, mostly with the 12 2, 45 1. It is great small camera and still delivers pleasant results. In fact, I am thinking about buying new one to keep it alive as long as possible.

Correction besides my E-M1, mostly with the 12 2, 45 1. great article and photos, thanks. Thanks Petr. The E-M5 makes a great companion for the E-M1 indeed. I actually bought yesterday a new one, it was the last piece on sale, with the mZD 12-40 2. 8, for ca 1350 Uthis is the price of the lens here. My old 12-40 2. 8 goes to my son, the new set stays home and replaces my original already a bit used-up E-M5.

That is a good catch. Fellow EM5 owner hereand still currently shooting casually and gigs with it. The kit lens did not inspired me initially, there was apparently lack of excitement at times. Over time of ownership, it was MFT primes which opened up my full own fire for Olympus OMD I really still prefer ISO200 on EM5 sensor, it is really competent. ISO1600 onwards it does looks like image quality of yesteryear DC. I end up with Lumix 14mm f2.

Loving it till today. Using small primes is the way to go with these small cameras. Keeping the size down yet getting great image quality. Always enjoy your posts inspiring. Still have my EM5 much prefer the tilt screen and take it our of it s draw from time to time. Upgraded to a Pen-F for walk around and EM5 Mk2 for birding. html Thanks, Robin. Thanks for sharing Dan, and glad that you are diving deep into the Micro Four Thirds world.

I am sure it made a huge difference for birding without having to carry so much load. I m impressed with your images from the m5, I like the colours, contrast and sharpness. Wondering if you did any post production with these images. All images were post-processed with Capture One Pro software. Robin, you have to excuse Olympus for teething troubles when they introduce a remarkably new camera. My first introduction to their cams was back in the 1960s, when a guy from England showed me his cam.

I ve always preferred a larger format, so I ve never owned one myself but they always impress with their results, as the pictures in your articles show. They have ALWAYS been high quality, very well oriented towards photographers and producing high quality images. True that, E-M5 is already a great camera on its own. You are right, they do think about photographers first when they design cameras.

While they do not get everything right, they have more hits than misses most of the time. Leave a comment here and I ll get back to you. Behind the scenes videos. 3 million words and 6,500 images in 1,700 posts. A further 10m words in 95,000 comments below the line. If you re looking for something might I suggest a search. 2014 ABBM INDOOR. 12. com kayak 4101. GW GW 4. 4 GW1 taitan0322LINE. D 5 831 627 D 5 616 312 301 263 286A 261. 2005 D 5. 2020. 06 3 2020-09-13 18 18 2020-09-12 12 21 2020-09-11 23 17 2020-09-11 07 50 2020.

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O Índice Médio Direcional Average Directional Index ADX é uma ferramenta de análise técnica usada para medir a força da tendência. Usados juntos, eles formam um sistema de negociação que é capaz de determinar ambas, a direção e a força da tendência. O ADX é usado para identificar tendências fortes e pontos de entrada e de saída potencialmente lucrativos.

O ADX como é mostrado na plataforma comercial IQ Option. A lógica por trás. Este indicador foi desenvolvido e apresentado ao público por Welles Wilder, um guru da análise técnica do século XX. O indicador direcional positivo DI e o indicador direcional negativo -DI acompanham a linha ADX, destacando a direção da tendência. Quão forte é a tendência atual. Este é o questionamento que o ADX é perfeitamente capaz de responder.

O indicador foi criado com o único propósito de quantificar a força da tendência. A média móvel da faixa de expansão do preço é utilizada como fundação para o ADX. O indicador consiste em três linhas a ADX em si linha amarelaa linha DI linha verdee a linha DI linha vermelha. A DI mede a força da tendência, enquanto a DI mede a intensidade do movimento descendente. A linha DX mostra a força da tendência em geral ao crescer em ambas tendências crescente e decrescente. O índice consiste em três linhas principais.

Quando a DI está acima da DI, é considerado que a direção ascendente está se sobrepondo. Do contrário, quando a DI está mais alta que a DI, a preferência direcional é de baixa. É importante entender que a ADX linha amarela demonstra somente a força da tendência e não sua direção. A direção da tendência, por sua vez, pode ser determinada ao observar as linhas DI e DI linhas vermelha e verde.

A linha ADX mostra a força da tendência, a DI e a -DI mostram sua direção. Configurar o indicador Average Directional Index na plataforma IQ Option é fácil. Depois, escolha o ADX da lista de indicadores possíveis. Vá para a aba Configurar Aplicar e simplesmente clique no botão Aplicar se você quer usar o indicador com os parâmetros padrão. Ou você pode ajustá-los de acordo com sua preferência.

Note que ao aumentar o período, você diminui a sensibilidade do ADX e ao mesmo tempo aumenta sua precisão. O ADX está pronto para uso. Como usá-lo no trading. Negociar com a tendência reduz riscos e aumenta o potencial de lucro. Por isso, muitos traders preferem conferir a força da tendência com a ajuda do ADX antes de investir seus fundos.

Existem duas principais maneiras de usar o indicador. 1 Cruzamento DI. Quando as linhas direcionais positiva e negativa se cruzam, geralmente significa uma reversão da tendência. Esta informação pode ser utilizada para determinar pontos ideais de entrada. Para investidores que utilizam este sistema de trading, os sinais são os seguintes. Entre no mercado comprando opções Acima quando a DI estiver acima da DI e a tendência geral for crescente. DI e -DI em cruzamento de alta Deixe o mercado compre opções Abaixo quando a DI estiver abaixo da DI e a tendência geral for decrescente.

2 Força da Tendência. No trading, não só a direção da tendência importa. A força da tendência também é importante e define o valor do lucro que um trader de Forex seria capaz de tirar de um negócio. Há situações de empate por exemplo, utilizando a estratégia de trading strangle quando a direção da tendência não importa até que a volatilidade do mercado esteja suficientemente alta. O ADX oscila de 0 a 100, sendo 0 o equivalente a um mercado totalmente plano e 100 o representante de uma tendência extremamente poderosa.

Avaliação da Força Força da Tendência pelo ADX 0-25 Tendência Ausente ou Fraca 25-50 Tendência Forte 50-75 Tendência Muito Forte 75-100 Tendência Extremamente Forte. Nesse caso, o ADX pode ser combinado com outros indicadores que mostram a direção da ação futura do movimento do preço. O Índice Médio Direcional é um indicador de análise técnica realmente único, que combinado com outros indicadores, pode se tornar a mais avançada ferramenta de trading nas mãos de um trader.

Usado numa combinação com as linhas DI e DI como sugerido na plataforma IQ Option é não só capaz de prever a força da tendência, mas também sua direção. Como qualquer outro indicador, porém, deve ser usado com cautela e conferido duas vezes em diferentes intervalos de tempo. O ADX pode estar atrasado em relação à tendência real e pode, por isso, fornecer informações ultrapassadas.

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Announced early 2012, the OM-D E-M5 was one of the most warmly received models of the year. As with any new camera, the initial interest was centered on the promising specification. Not only did this model herald a new 16-Mpix MOS sensor complete with a unique 5-axis stabilized platform and up to 5 stops compensation for camera shakebut the retro looking E-M5 was aimed squarely at enthusiasts.

2fps with the stabilizer active and it was the first from the firm to adopt a built-in 1. Even without the optionally available grip, it offered continuous shooting at up 9fps, and up to 4. 4M dot EVF and feature a weatherproofed magnesium alloy shell. To top it all, the firm claimed the contrast detection AF function of OM-D E-M5 was one of the fastest available, even when compared against typically much swifter phase-detection equipped DSLRs.

With camera in the hands of reviewers and users alike, the camera also proved to be immensely popular for its quality of output, eventually cementing the 999, body only OM-D E-M5 as one of the best selling cameras of the year. Several months later and just ahead of Photokina 2012, rival maker and partner to the Micro Four Thirds alliance, Panasonic announced its new flagship model, the GH-3. As with the E-M5, this new 1,299 model was aimed at enthusiasts and while it adopted a weather sealed alloy body and MOS sensor with a similar pixel count 16-Mpixit had several promising features over the E-M5.

First, as the successor to the GH2, this new model offered extensive video capabilities, including a raft of formats and codecs, frame rates from 60 to 24 fps and bit rates up to 72Mpbs. The GH3 also featured a 1. 74M dot EVF, uncompressed HDMI output and headphone monitoring, making it a serious rival to full frame models such as the Nikon D800 and Canon EOS 5D Mk III.

As a stills camera, the GH-3 was one of the first to add built-in WiFi to link to smartphones and tablets, as well as in-camera HDR, multi-exposure modes and continuous shooting at up a very respectable 6fps. Externally, the Olympus OM-D E-M5 and the rival Panasonic Lumix DMC-GH3 couldn t look any different though they do share a number of similarities in their core specification, including sensor, EVF and articulated rear display panel. Although the video capabilities are quite impressive, the OM-D is principally designed as a stills camera, whereas you could say the reverse is true of the GH3.

This likely accounts for the stronger AA filter and the slightly lower DxOMark lens scores when compared with the E-M5. Both makers have however adopted dissimilar and conflicting stabilization systems, making cross-system lens choices more tricky. Somewhat ironically, the E-M5 s integral 5-axis stabilized sensor system is generally considered to be superior, especially for handheld video, to the in-lens based optical image stabilization technology currently favored by Panasonic not to mention, Nikon, Canon et al.

The preference isn t based solely on results between the two, but also on the fact the Olympus system is more flexible, allowing the, not in-considerable, benefit of image stabilization with any lens fitted regardless of its focal length, type or construction or use of such a lens with iq option x binarias required adaptor. That said, with the announcement of the new Lumix DMC-GX7, complete with in-body image stabilization, there s a strong indication Panasonic may follow Olympus with all their future models.

Apart from that, and image quality, one other significant concern for potential purchasers must be autofocus. Both cameras adopt contrast detection AF, which is relatively fast and efficient in both models but it is also somewhat dependent on the focus motor and mechanism adopted by each lens. Fortunately, both Olympus and Panasonic have gone to considerable lengths to make the AF drive system suitable for both movie capture and stills.

In the past, providing the lens focused accurately and quickly that was really all that mattered for stills, and little or no additional consideration was given to how smooth or quiet the system was in the process. Although ultrasonic type AF systems are for the most part quiet, they were not originally designed or intended for video, therefore, Panasonic, Olympus and Sigma and others are adopting linear driven AF systems on their latest models that allow for these small, rapid, continuous and smooth adjustments.

Look out specifically for the MSC designation for Olympus lenses. As a relatively new and evolving system, the lens range isn t as extensive as the 35mm based offering for DSLR cameras, such as Canon or Nikon, obviously, but when combined together the Olympus and Panasonic lenses outnumber those of rival mirrorless systems. Third party lens makers Tokina, Tamron, Schneider Kreuznach, Voigtlander, Samyang and Sigma have since joined the MFT lens alliance, but, of those, only the latter three have introduced a small number of models with a suitable mount.

We ve analyzed 27 lens models in total, mostly from Panasonic and Olympus. Best performing prime lenses for the OM-D E-M5 and GH3. ZUIKO DIGITAL ED 75mm F1. 8 899 27 24 Panasonic Leica Summilux DG 25mm F1. 4 579 23 21 Olympus M. Zuiko Digital ED 45mm f1. 8 389 23 21 Olympus M. ZUIKO DIGITAL 17mm f1. 8 500 22 20 Olympus M. Zuiko Digital ED 12mm f2.

0 769 21 19 Sigma 60mm F2. 8 DN A Micro 4 3 239 21 19 Olympus M. ZUIKO DIGITAL ED 60mm F2. 8 Macro 499 19 17 Sigma 30mm F2. 8 DN A Mount 43 199 18 16 Panasonic Leica DG Macro-Elmarit 45mm F2. 8 ASPH OIS 668 17 16 Olympus M. ZUIKO DIGITAL 17mm f2. 8 300 15 14 Olympus 15mm 1 8. 0 Body Cap 79 5 5. As one of the most expensive models available for MFT cameras, the 899 Olympus M. ZUIKO DIGITAL ED 75mm f 1. 8 is the best performing lens of the range that we ve had in our labs.

As the equivalent to a 150mm in 35mm format it s a rather specialized model, where the longer focal length and fast aperture are ideal for indoor sports or even outdoor portraiture. Not to be outdone by the Tatsuno-based maker, Panasonic s Leica branded Summilux DG 25mm f 1. 4 is the next best in terms of optical quality and is a more conventional and versatile 50mm equivalent.

At 579, it s another high-end model, but it s an excellent performer nonetheless. If a moderate telephoto is required and the 75mm is a bit steep, then 389 45mm f 1. 8 can be easily recommended. It shares the same ranking as the 25mm Leica Summilux model for IQ, focuses to just 50cm and is both light in weight and compact. Wide-angle primes are still a bit thin on the ground but as the equivalent to a 24mm, the compact metal-bodied 12mm f 2.

0 is ranked fifth in our database and performs very well. With similar sensors, the ranking of the lenses remains unchanged between the Panasonic flagship GH3 and the OM-D E-M5. There is a difference in DxOMark score, however, with the OM-D E-M5 delivering slightly better results, in some case by as much as three points for the best performing lens gradually falling toward equal scores for the lower-end optics.

Differences in the choice of anti-aliasing filter between the two manufacturers are the most likely reason for the disparity between the two cameras. Best performing standard lenses for the OM-D E-M5 and GH3. Panasonic Leica Summilux DG 25mm F1. 4 579 23 21 Sigma 30mm F2. 8 DN A Mount 43 199 18 16. With a DxOMark lens score of 23 on the OM-D E-M5, and 21 on the GH3, the best performing standard lens in our database is the Panasonic made Leica-branded Summilux DG 25mm f1.

Not only is a good performer optically, it s a well specified lens suitable for both stills and video capture as it features fast and smooth focusing with a linear type AF motor. Compared with the sensitively priced 199 Sigma 30mm f 2. 8, which is our budget choice, the Leica is the better of the two optically. While the overall DxOMark score of 18 points for the Sigma looks close to the 21 points of the Leica abovethe Sigma s performance is enhanced in this comparison by the slight differences in the sensor of Iq option x binarias E-M5; mounted on the GH3 the score is a little lower at 16 points.

Mounted on either the E-M5 or the GH3, whichever way you look at it the Leica is the better performer. It has higher levels of sharpness and lower chromatic aberration though still not particularly greatwhile the Sigma has better control of vignetting and distortion. It s worth remembering though that as with some rival camera systems, the Panasonic cameras rely on in-camera correction of distortion, vignetting and chromatic aberration, not only during live view and playback but also in the resultant JPEG images and Raw files with suitable raw conversion software.

Olympus cameras do the same, except they don t correct lateral chromatic aberration, so many of these aberrations are unlikely to be really noticeable by users. Best performing wide-angle prime for the OM-D E-M5 and GH3. 0 769 21 19 Olympus M. Of the wide-angle primes analysed and we ve yet to test the Panasonic 20mm f1. 7 and 14mm f2. 5the best performing of those in the database is the new 500 Olympus 17mm 35mm equivalent f1. 8 with a DxOMark lens score of 22 points.

The firm s high-speed 24mm equivalent narrowly misses the top slot at 21 Points. With respectable IQ and seriously small dimensions, the 17mm f 2. 8 is the value proposition at 300, though bear in mind it s an early model and the AF system is somewhat noisy and not particularly suited to video. Best performing zoom lenses for the OM-D E-M5 and GH3. For all round flexibility nothing quite beats a zoom lens.

It s here that you ll find a wide range models from both camera makers. Of those the best performing model we ve analyzed is the Panasonic Lumix G X Vario 12-35mm f2. 8 ASPH Power OIS, a weatherproof, image stabilized model and the equivalent to a 24-70mm. In fact, of the top three zoom lenses, not one is made by Olympus, which is perhaps at odds with their reputation as one of the leading lens makers in Japan but may just reflect that they ve yet to offer models at this level, and at this price.

In second and third place, then, is the similarly specified, weatherproof and stabilised 35-100mm 70-200mm. At 1,300 it s not for everybody but it s flexibility and fast maximum aperture is promising. At the other end of the focal range is the highly regarded 7-14mm 14-28mm equivalentanother compact model with an attractive capability and very good image quality. If budget is a concern, the Olympus 9-18mm f4-5. 6 may be an option. As the equivalent to an 18-36mm it s not as extreme as the 7-14mm and at 700, it s still a sizeable sum, however, the model is small and light in weight and is decent performer optically.

Value options include the starter 14-42mm lenses, all are reasonably priced and, ultimately, very good performers, even if they re less glamorous than their pricier counterparts. Panasonic LUMIX G X VARIO 12-35mm F2. 1129 19 17 Panasonic LUMIX G X VARIO 35-100mm F2. 1300 18 17 Panasonic Lumix G Vario 7-14mm F4 Iq option x binarias 1100 15 13 Olympus M.

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