You can get an E-520 with kit lens (14-42mm) for around $200, and a 40-150mm lens for as little as $50. Much better camera, and currently the best Olympus that is being dumped for small money. The E-30, E-620, and E-5 are all still selling for premium dollars.

FreeFileSync has Windows and Linux versions. Time Machine and Carbon Copy Cloner are Mac-only applications.

Okay, you have a Mac, which means you have access to Unix commands, which means you have access to a very robust backup solution.

I'm assuming that you don't want to get involved with using Unix, so you want to get a software application that will do backups.

I use the following programs for backup: Synchronize X, Carbon Copy Cloner, Super Duper.

First, if you are not using Time Machine (part of Mac OS) to backup your system, then I recommend that you go get a hard drive at least as large if not larger than your system drive and configure Time Machine to regularly back up your system.

Now you have a backup; but for redundancy you want to back up important files like your photos to another drive. That's where the backup programs come in handy.

Personally, I use Synchronize X to do folder level backups; it's just easier to use. Point to the two folders (one main, one backup), tell Synchronize X to do a backup, and go. Save the configuration as a file, and when you open the file, the same backup configuration is ready to go.

First answer: There used to be devices that would transfer from memory card to hard drive via USB, usually a notebook drive but you could probably use a regular drive if you supplied power to it as well. These are old, slow, and I don't know if anyone makes them anymore.

Second answer: There are a number of devices that will transfer from memory card to included hard drive, usually 750GB or 1TB capacity. See

http://www.bhphotovideo.com/c/buy/Stand-Alone-Data-Storage/ci/3369/N/4000227848/c/buy/#inpage:In+Stock?gclid=CPrX2dGKssACFU4F7Aod3yoAcw

for 29 different versions.

Third answer: You don't have to transfer the files to your computers internal drive; just attach the memory card and a hard drive to your computer and copy the files directly from the card to the external hard drive. The computer is the controller for the hard drive and the card, but the files don't go to the internal hard drive.

Fourth answer: Or, you can attach the camera to the computer with a data transfer cable, or connect wireless to the camera from the computer (if your camera is capable), connect the hard drive to the computer, and copy files from the camera to the hard drive. You have to be able to access the files on the camera the same as if you were accessing the card itself. This is usually very slow compared to direct transfer from the card; but it's useful if, for example, your camera is in a cage or mounted on something where you can't access the card port.

Fifth answer: You can attach the camera to the computer with a data transfer cable and access the images with a software program (the one that came with your computer or some other one) which you have configured to store the images on the external hard drive rather than the internal hard drive. Check the user manual and see if the preferences allow configuration of the hard drive for storage of the images; but this is a common capability.

Actually, you can't do ND and GND in post processing. Here are a couple of examples:

1. Shooting flash fill from a distance, so need to keep sync speed below 1/320 (or less, depends on camera/flash), want narrow DOF for background isolation. Need ND to cut exposure.

2. Shooting flowing water or waterfall, want heavy blur with long exposure, can't close aperture enough to avoid diffraction, so use strong ND filter.

3. Shooting bright sky above and shadows below, with dynamic range greater than the camera (blown out and under exposed), you can HDR but if there's motion (like waves) then a GND can save the day.

The ND and GND filters mitigate the limitations of the camera and flash.

I shoot Olympus (E-M1, E-M5) and Panasonic. In answer to your questions:

1. The E-M1 has Electronic First Curtain Shutter, enabled with the most recent firmware update, and useful to reduce the effects of shutter shock. Works only in single shot mode, not enabled for continuous shooting.

2. The E-M1 has a wireless smartphone app. I do not find it as useful as the Panasonic app (which I use on the GH3). There is no computer application allowing tethered shooting, but you can hook up the HDMI output for viewing. Files are saved to camera, can be transferred over wifi with browser, but this will interfere with remote control via smartphone.

3. The EM1 can control the FL36R, FL50R, and Metz58 remotely (optically) using the supplied flash. Neither Olympus nor Panasonic support wireless TTL, and there are no third party applications AFAIK (but I'm still looking).

4. Spec sync speed is 1/320 with the supplied flash (which is puny), 1/250 with other flashes. The camera has a PC sync port which will sync to 1/400, and will sync to 1/500 if cropped to 3:2. The E-M1 also supports FP sync to 1/8000.

Opinions:

Differences between E-M1 and E-M5 IQ are subtle, due to the different sensor and lack of AA filter on E-M1. I have noticed moire on the E-M1 in unexpected situations, but it's rare for me.

Image stabilization in E-M1 and E-M5 is same 5-axis. Not sure what you are asking about squaring up; if the camera is squared to the subject, the sensor will be as well.

I use focus peaking if I'm shooting quickly and don't have time to inspect for focus; it works okay but I usually miss critical focus. For critical focus, I use image magnification, but it's a tradeoff between time for the shot and composition.

I have not used diffraction compensation, as I usually shoot RAW and don't set aperture below f/8, but cameralabs.com has test images showing the feature as invaluable for small aperture shots.

The 60mm macro is a great lens, shoots true 1:1 with good working distance (much better working distance than my Zuiko 50mm with EX-25 extension).

I think the best adapters for manual lenses are Metabones, but I have limited experience with Nikon and Olympus lenses.

Accessories:

a. The battery grip for the E-M1 is a must have for me, for the backup battery and because I shoot portrait mode a lot.

b. I use a lot of Olympus 4/3 lenses, so have several MMF adapters.

c. I have several remote shutter cables and a wireless shutter release.

d. I use TTL cables for off camera flash (Canon compatible cables work just fine).

e. I use Pixel Soldiers for wireless flash (manual mode only, but 3 group control).

f. I use a Polaris flash meter.

g. I have OpTech utility loops attached so I can easily clip on/off a camera strap.

h. I have an AC adapter (you need the battery grip to use it) but haven't used it; but I am looking into hacking it for use with an external battery (this is one feature Panasonic supports but Olympus does not).

i. I have CPL, ND, and GND filters for all lenses.

I think the camera is very good. At some point I will probably trade my E-M5 for another E-M1. My main complaint is that Olympus doesn't support full EVF operation, and the EVF/LCD button is located on the left for the E-M1 but on the right for the E-M5. I shoot a lot of concerts, and try not to use the LCD screen. Menu and playback operations always come up on the LCD and must be transferred to the EVF with the button; easy to do on the E-M5 but requires the left hand on the E-M1.

If it's a "large group" with "tight quarters", then I don't see how one can "zoom with your feet". And 50mm on D7000 is pretty long, where a 35mm is a normal lens.

The 24-70 will probably be the best bet, but I would take the 11-16 along just in case; you can decide which is best once you see the layout and restrictions on where you can shoot.

Fowler sampling, up-the-ramp sampling, multiple exposures, dithering, pixel non-linearity, dark frame subtraction, rate fitting, sample rejection.

These are the techniques used to reduce noise and improve resolution in astronomy. If some of these can be applied to low light photography, then wouldn't that be a good thing?

Exploring different techniques to produce better results, and not accepting someone else's imposed limitations, is to be commended and encouraged, not derided.

Knowledge IS power. So it is confusing that you would claim that the more you know about a problem, the less inclined you will be to fix it. It is the exact opposite; the more you know, the more you CAN DO to fix a problem. And noise is definitely a problem with low light photography.

Many cameras will do long exposure noise reduction, but the exposures must be very long (typically >10s). This technique takes an equally long dark exposure (shutter closed) and subtracts it from the normal exposure. This mitigates the effects of some systematic noise sources (hot pixels, charge leakage) but not others (sensor pattern noise), and not random noise sources (photon, thermal, read, atmospheric).

Multiple images are a method to mitigate the effects of random noise sources, as well as non-linear systematic sources such as charge leakage.

Both techniques provide an improved final image, which can then be processed by standard noise reduction software to further enhance the image. But noise reduction on a single image is always a trade between reducing noise artifacts and sacrificing image quality. Multiple image noise reduction techniques have more information to use, and this lessens the impact on image quality.

This technique (image averaging) is described in the article

http://www.cambridgeincolour.com/tutorials/image-averaging-noise.htm

Averaging these images reduces the most common noise sources. What's left is a trade between object motion and noise.

I have two single sling straps set up for left and right side when shooting events, but if I'm walking around I use one sling set for right side, one regular strap for front, and a camera bag on left side.

I use a quick release plate with slots for the camera strap, and attach the strap to it. The really long lenses have their own tripod collar with a QR plate attached there.

With this approach, I do not have to remove the strap to mount the camera on monopod or tripod. Note I use a QR mount on the monopod as well.

A UV filter is just for protection, and a clear glass protective filter (sold by various brands) will work just as well on digital cameras.

I do recommend some filters that affect the image: circular polarizing (CPL), neutral density (ND), and graduated neutral density (GND). The CPL is useful for haze and to cut reflections (some use it for deep blue sky but I find that look unnatural). The ND is useful to control shutter and aperture for narrow DOF in some natural light and flash fill situations; I use the lighter filters for this (1,2, and 3 stop). The ND can be used for long exposures to blur motion (such as waterfalls), but you need a really dark one (8-10 stop). The GND is useful to balance sky and ground in high contrast shots; they come in different stops and gradual or sharp transition. I like the 2 stop filter, and I think the sharp transition is easier to deal with in post processing.

All of these filters should be neutral in color, but cheap filters or counterfeit filters may have a color cast to them. So I recommend you test the filters when you get them. It's easy to do; set white balance with a white card without the filter, then take a picture of the white card with and without the filter. Compare the color balance in a photo editing program, they should be similar.

Also, take a picture of a newspaper that fills the frame with text and look for consistent sharpness. Most of these filters are sandwiched, so they may exhibit optical distortion due to ripples and other defects.

I had a Hoya GND that was so bad, autofocus near the transition would not work and focus across the transition was unacceptable. Not sure what happened to it, but I chucked it.
And I had some Hoya ND filters that were very pink, chucked them as well. I have others that were fine, so I think they might have been counterfeit.

The features to consider for remote flash triggers are: wake from sleep, zones, flash intensity adjustment, TTL.

I have used Cowboy Studio triggers, and they support none of these. Plain vanilla triggers.

I use Pixel Soldiers; they have 3 zones which are assigned at the receiver when turned on. The trigger can select any combination of zones; it's for two purposes: selecting a single flash to measure output, and taking a flash out of use when shooting (useful on the background flashes).

The ability to remotely adjust flash intensity is supported by some flash/trigger combinations. This is also supported on full TTL flash/trigger combinations. Since I shoot mFT, this is not supported. But I am considering getting Radio Popper JRs to adjust flash intensity on the Nikon SB-28/80 flashes. And considering getting some FreeXwire triggers for my Quantum flashes.

The Olympus 12-50mm provides 1:3 magnification, so it's technically not a macro lens but a good close-up lens. True "macro" lenses have at least 1:1 magnification. Still, it's pretty good, and Robin Wong had a nice post reviewing the capabilities:

http://robinwong.blogspot.com/2011/12/olympus-mzuiko-12-50mm-f35-63-review.html

Some other options:

The Olympus 60mm f/2.8 for m4/3 is a great lens, including for use as a macro lens since it does 1:1 macro. Close focus distance is about 3.5"

The Olympus 50mm f/2 for 4/3 is also a great lens; it does 1:2 but will do 1:1 with the EX-25 extension tube. Close focus distance is about 2". It will not auto focus very quickly with the EM5, but it's usable (I've used it on an EM5 and gotten great shots). The advantage of the 50mm is you can also use the EC-14 or EC-20 teleconverters on the lens.

I also use the Nikon Micro-Nikkor 105mm f/2.8 AI-s. It does 1:2, but with the PN11 extension tube it does 1:1 and the extension tube has a tripod collar which is really handy. Close focus distance is about 6". Add the Nikon E2 extension with aperture button and you can easily open the aperture for focus and close for exposure. And its a nice lens for normal shooting.

And there is the Nikon Micro-Nikkor-P 55mm f/3.5. It does 1:2, but with the M2 extension tube it does 1:1. The lens is too slow for use other than macro.

Finally, there is the Olympus 35mm f/3.5 for 4/3; it does 1:1 macro but it's focal length is so short you have to really get close to your subject. Close focus distance is about 1".

If you can find one, the Olympus SRF-11 ring flash or STF-22 twin flash attach to all three macro lenses, but are effective only with the 60mm. The FR-1 adapter for the 50mm and 35mm is 2" deep, which is not compatible with the close focus distances of these lenses. The FR-2 adapter for the 60mm, however, is only 1" deep and that leaves some room (but not much)

I have modified an FR-2 adapter for use with a step-up ring, and that helps with the 50mm but also means I can mount the flash on the Nikon lenses. With the Nikon 105mm, that makes for an awesome combination with very good working distance.

I also have a Nikon SB-21 Macro Speedlite, its really a twin flash unit, but it has a 52mm screw on adapter so it works native with everything but the 60mm (which needs a step-up ring). That's a totally manual flash setup, but it works well enough.

My recommendations will depend upon how manual you want to go. If you don't mind manual, then the Nikon 105mm plus extension tubes has the best working distance, which is important for flexibility in lighting. It is long (8") and heavy, so hand holding is difficult, but the working distance is very good.

Otherwise, the 60mm f/2.8 provides good auto focus and exposure, but has less working distance. It is out of the box compatible with the Olympus ring flash, and it is light.

Okay, let's take a different approach and calculate what you need.

First, you need to know what the lighting is at your location. Use a light meter or your camera/lens combo and get a reading (or several). Basketball gym lighting can vary significantly, but for the sake of an example, let's take a common value of 1/250sec, ISO1600, f2.8.

The shutter speed is good for some action; you'll get blurring on fast action, so this should be considered the minimum.

The ISO of 1600 is the best your camera can do.

The aperture of f2.8 reflects the speed of the lens needed for the given light subject to constraints on speed and sensitivity (ISO).

Now what focal length do you need. The relationship to consider if F/H = D/X where F is focal length, H is sensor height, D is object distance, and X is object height. Units on each ratio should be the same, e.g. mm or feet, but can differ on each side of the equality. I can solve for focal length to get F = H * D/X. We'll now see how to use this.

So consider a basketball court is 94 x 50 feet, and the hoop is 10 feet high. Suppose I am unlucky and sitting 20 feet back in the middle; then I am about 75 feet from each basket. I want to get jump shots at the basket, so I need 10 feet for the basket, plus say 3 feet at the bottom for depth and 2 feet at the top for the basketball (15 feet).

So D/X is 75/15 or 5

The 4/3 sensor in your camera measures 12 mm x 18 mm. Shoot in landscape mode, and you need a lens that is no longer than 5*12=60mm in focal length. Shoot in portrait mode and you need a lens that is no longer than 5*18=90mm in focal length.

Based upon this example, the Olympus 50mm f2 will capture action shots at the basket but will require some cropping, especially if you shoot portrait mode.

Of course, if you are lucky and are sitting near one basket, say at 45 feet from the basket, then D/X=3 and if you shoot portrait mode then 3*18=54mm and the 50mm lens will be just fine for shots at the near basket.

At the far basket, you will need a longer lens, since you are about 105 feet from the basket, so D/X=7 and the lens should be 84mm (landscape) or 136mm (portrait).

With the assumptions of lighting in this example, the Olympus E-510 could use the Olympus 50mm f2 as a prime or the Olympus 50-200mm f2.8-3.5 as a zoom (with less than 1/2 stop underexposure at the 136mm distance). The Olympus 40-150mm f3.5-4.5 would be about one stop underexposed, but a lot cheaper.

A little underexposure will add noise, but keeping the shutter speed up will preserve sharpness. This example stresses the E-510; there is no margin for dimmer light or faster action. So, check the lighting and calculate what you need from that.