The OM-D series E-M5 and E-M10 cameras

 Last Update:- 16th June 2023

Introduction.

The Olympus OM-D series pioneered the mirrorless segment as we know it today. Olympus OM-D cameras like the E-M1 I/II/III and the E-M5 I/II/III were leading the industry with at least 10 years in terms of vision, innovation, functionality, and performance.

The Olympus OM-D E-M10 MKII with a special handgrip and a 14-150mm MKII lens.

I bought my first Olympus OM-D camera, the E-M5 with the 12-50mm f3.5-6.3 EZ lens in late 2012. My first reaction was that it's an exciting concept with a high level of flexibility, consisting of high-quality lenses plus add-ons like the handgrip and separate battery grip. The E-M5 with a 12-50mm lens was expensive at $1300 when the E-620 and E-P3 were selling for less than $800 each.

The Olympus E-M5, with its unique range of add-ons, had a remarkable resemblance to the OM-4 analog camera and converted many photographers to the M43 mirrorless segment.

The E-M10 followed the E-M5 and received rave reviews. It quickly became as popular as the E-M5. Priced attractively, the E-M10 was very popular at half the price with the new 14-42mm EZ lens. It quickly became a first choice for those upgrading from compact or mobile phones. 

The E-M5 was the first OM-D with the new 5-axis in-body image stabilization (IBIS). Other models like the Pen E-P3 and the E-M10 came with 3-axis stabilization. The E-M5 was also the first M43 camera to introduce shutter shock to the M43 mirrorless segment. I recall upgrading from the E-P3 and how frustrating it was to get so many blurred images with my new E-M5. Olympus added a new 0-second Anti-Shock option to fix the problem.

The E-M10 used a different shutter mechanism, which helped. All new Olympus M43 cameras benefited from these new and improved shutter units, plus the new 0-second software fix.

The Olympus OM-D E-M10 MKI with a 25mm f1.4 Leica lens.

The E-M10 MKI and MKII were interesting because both came with an optional handgrip like in the above image. The handgrip had a new feature to access the battery or memory card. It's possible to unclip the handgrip from the camera with a unique clip. The handgrip works well with the 14-150mm or 75-300mm lenses. It's a pity that Olympus excluded this option from the EM-5 MKIII. I did not see any mention that this option would be available for the EM5 MKIV. 

This was disappointing because one of the strengths of the O-MD series is its ability to grow in functionality with the handgrip or separate battery grip. This enabled photographers to scale the camera as needed. One moment the E-M5 is a small compact camera, and in the following, it's fitted with a comfortable handgrip, or it changes into an extended battery life...

E-M10 target customers

While evaluating the E-M10 product positioning, we see the original E-M10 was a bit of a "free spirit." It lacked the different EM5 add-ons, weather sealing, and the accessory port. Other than that, it offered the bulk of the EM5 functionality. If you think about the evolution of the EM10s, the simplified chart below describes what I find interesting about these E-M10s. One can create more charts like that's based on different photographers' needs and priorities.

Click on the chart for an enlarged view.

The EM10 MKII was a comprehensive upgrade to the original EM10. I couldn't help thinking it was designed to fill the gap between the original EM5 and the far superior EM5 MKII. Olympus planned the opposite for the EM10 III and positioned it into the existing Pen space.

When Olympus launched the EM5 MKII, it was a more powerful camera than the original EM1. The EM1 MKII followed one year later to re-establish the E-M1's superiority. The EM1 was targeting professionals as well as serious hobby photographers. The Pen range was designed for casual or entry-level photographers, and the Pen F for city or street photographers. 

When Olympus introduced the E-M10 MKIV and its simplified user interface, they hinted they were planning to discontinue the Pen F. The E-M5 III also confirmed this. Like with the E-M5 II, photographers expected new and trendsetting features. They were not ready for a "tamed down" E-M1 MKII. That's why the initial disappointment with the E-M5 MKIII.

What happened was a common strategy of optimizing the new factory in Vietnam by re-positioning the product offer and lowering manufacturing and product costs. We also see Olympus considering the complete phasing out of the Pen range. It will not surprise me if any future Pen will exclusively be for the Japanese market and to help Olympus transition the offer... 

The Olympus EM10 range's main functions and features

New EM10 AP Menu.

The new AP menu gives photographers easy access to advanced features. Must say it would have been nice if Olympus added the curves (highlight/shadow) and the Color Creator to the AP menu. With the MKIII, it's now more practical to select curves via the SCP, whereas with the MKII, one simply uses the multifunction button. The MKII only adjusts highlights and shadows, whereas the MKIII and MKIV also adjust mid-tones. When Olympus launched the MKIII, they removed the RC (Remote Flash) function. This was quickly "corrected" with the next firmware upgrade.

Is the new AP Menu something useful? It's difficult to say, for someone new to OMD cameras, it could be something valuable. For existing OMD owners, my advice is to try it first... I found the AP menu a little frustrating because you need to go back to the advanced menu to access more advanced options. I did not check, but I am sure those reviewers complaining about the Olympus menu also found something with the MKIII and IV menus to complain about...

I studied the EM10 MKIV and the EM5 MKIII at my local camera shop. It is possible to rent these cameras, but I honestly cannot make up my mind about Olympus. For example, I bought a Panasonic G9 on the secondhand market, and I am considering supporting Panasonic in the future. I feel it is important to support those manufacturers that are loyal to their client base. That does not mean I will not enjoy the extensive secondhand Olympus supply...?

The new EM5 MKIII.

When studying the EM5 MKIII and the EM10 MKIV, I was surprised at how lightweight these new bodies are compared to the EM10 MKII and the EM5 MKII. The original EM5, the EM10, and the EM10 MKII all used a solid metal build. The EM5 MKII has a nasty weakness, wearing off the silver, black, or platinum paint at the corners, whereas the EM10 MKI & II stays good for years. Another really irritating aspect of more recent models is the rubber inserts on the thumb position. I first experienced this with the Pen F, and I noticed the EM10 MKIII and MKIV have this too. The rubber falls off over time, and it's aesthetically and functionally not really practical. See my wife's EM10 MIII and my Pen F below. The E-M10 MKII still uses the best solution, it will stay good for years...

That said, my wife loves her E-M10 MKIII. She has her 14-150mm fitted almost permanently. It seems the MKIII is manufactured from the same composite material as the MKIV and the E-M5 MKIII. Unlike the E-M5 MKII, these new bodies do not scratch easily or lose paint at the corners. The image and video quality are great, and my wife is completely satisfied with her E-M10.

One can talk for hours about these differences, the new panorama function, the AP Menu, the different video options, or the difference in resolution. The bottom line is that talking makes no difference to these cameras. If it's more video you want, consider the EM1 MKII or the EM5 MKIII. This is true for almost any feature-craving forum expert... You can safely select almost any OMD to closely match your needs, whether it's the original EM10 or any other OMD right up to the EM1X.

Studying the video specifications of the MKII, III, and IV, we see the main differences are:

• The MKII is basically a replica of the EM5 MKII
• Olympus added 4K to the MKIII and IV with an increase in data rate (102 Mbps)
• Olympus added a 720p, 120fps slow-motion to the MKIII and the MKIV
• Olympus removed the All-I option from the MKIII and IV (not all use this)
• The movie options accessible via the AP Menu are the most basic options only
• With the MKIII and IV, it takes a little digging to access more advanced video options
• All the E-M10 cameras benefit from recording with IBIS plus electronic stabilization
• The MKII, III, and IV all have the 4K TimeLapse function - check the details first...
• The MKII slow-motion basically uses 60p and adapts that to the set frame rate

I think it is important to see that while the MKIII and IV benefit from 4K, the MKII has 1080P plus All-I. Studying the MKIV in my local shop, I also saw that one can buy a brand new EM1 II with 4K and more video options for less than a new E-M10 MKIV. Again, the scalability of the EM1 II is excellent, plus the additional features one gets with the E-M1 MKII.

Let's talk about a missed opportunity

Panasonic G100 for Vloggers (Panasonic image).

I think the vlogging camera in the above image is shouting a message from the mountaintops. With all I wrote about Olympus, the financial scandal, the amazing turnaround, and the reorganization of the imaging business, one thing we never discussed is the impact it had on employees. 

Missing an opportunity to introduce a great vlogging camera is more than revealing. It's not that nobody saw what vloggers want, or vlogging is something new. Vloggers asked for a vlogging camera. To make it worse, Sony and Panasonic are leading the way with no EM10 II equivalent offer.

How did Olympus miss this one with the new EM10 MKIV? Here we have the perfect camera, an amazing new segment, and "policy" or "saddened employees" lacked common sense?

To make this worse, Olympus cannot go back and quickly adapt the EM10 MKIV because the screen format is completely wrong. I am really too embarrassed to even show a picture of the MKIV flip-down display. Besides, think of the possible cost savings if all OMD cameras had the same display. I think this example demonstrates just how out of touch Olympus was at the end... 

Update 26th Jan 2022:- From writing this article, I decided to stay with Olympus and not invest in Panasonic. I bought the EM1 III at a special promotion in December 2021 and received the 17mm f1.2 Pro lens at no additional cost.

Conclusion

The E-M10 range cameras are probably the most exciting in the OMD range. From the award-winning MKI with its built-in flash to the latest MKIV, each E-M10 has its own unique strengths and great value. Yes, they are not weather-sealed, and the MKIII and IV are a little different. That said, they do have the new AP menu, and many newcomers value that... 

As discussed, Olympus created a unique opportunity with the O-MD range. If you look carefully, you will see the E-M1 MKII is a complete bargain, new and secondhand. The MKII was commercially available in 2020, plus it was hugely attractive in terms of price and functionality. Now in 2022, they are selling secondhand for less than $200 in our local market. This is no-brainer territory...

Olympus Pen-F Color and Monochrome Profiles

Last Update: 30th March 2025

The Pen F was the first M43 camera with the Olympus Creative Color, Computational, and Enhanced Raw format (ORF+) package. The Enhanced Raw Format is unique as it lets us review and edit our camera settings in Workspace. The Pen F, E-P7, and OM System OM-3 are the only cameras with advanced Monochrome and Color profile functions targeting specific colors. These cameras can edit or create global color effects or target specific colors. Let's explore the Pen-F and the Creative Dial and why this is an interesting solution for artists and creative photographers.

Olympus differentiated itself with solutions like IBIS and the digital M43 sensor format. The Creative Dial and full Creative Color package are unique Pen F differentiators. When Olympus introduced the Pen F and the Creative Dial, most M43 photographers thought it was another Color Profile (LUT) option. Although not entirely wrong, the user manuals revealed more. The Creative Dial accesses different Creative Color features like the Color Creator, Color/Monochrome Profiles, and ART Filters.

Also, see Part 6 of my series on Creative Color photography.

These images were part of the ad campaign introducing the Pen F as a definition of style and substance in 2016

Each photography style, like landscape, wildlife, or sport, is unique. Creative photographers and artists use familiar objects, natural light, and contrasts to create day-to-day life and street art. The Pen-F is a flexible street and rangefinder-style camera that became popular after a slow start in 2016. The demand for used Pen F and E-P7 cameras didn't change much in 2025 as collectors and artists value their Creative Color features. Pen F owners also prefer high-quality cameras, controls on the right, and the optional handgrip. It would be interesting to follow the new OM-3 in this space.

The Enhanced Raw Format is perfect for the Pen F as it replicates the camera settings in Workspace. We can now edit our camera settings and monitor the changes because the camera's final Live View display is available on our Workspace PCs. For instance, I improved my Color Creator, Adjust Color, and Monochrome skills with Workspace. This unique integration became a game changer.

Study this article for more about Workspace and the Enhanced Raw Format.

What is the difference between Adjust Color and Color Profiles? The Adjust Color function of Workspace is called Color Profiles in the Pen-F. The Adjust Color (Color Profile) function targets one of 12 colors and adjusts its saturation for the Pen-F versus saturation, luminance, and hue for Workspace. We can also select all 12 colors and increase/decrease the saturation, luminance, and hue.

Here is a short summary from ChatGPT. "The Olympus systems—including the Pen F, E-P7, and the OM-3 are indeed unique with a dual-tiered approach. They separate global color adjustments from targeted color controls, enabling precise manipulation of specific color ranges while also applying broader image-wide settings. This design is a distinct departure from most other camera systems, which typically offer only global adjustments via LUTs or film simulations. It’s a feature that really sets Olympus (now OM System) apart in its workflow and creative flexibility."

What is a Color Profile (Custom Preset) in the Olympus world? With their ability to target specific and global colors, Olympus cameras have the most advanced color control compared to other brands. Another advanced aspect of Olympus Color Profiles is saving the complete camera configuration. That means 3 SCP Color or Monochrome Profiles (separate profiles) are saved to a Custom Preset C1, 2, 3, or 4 at a time. The Creative Dial has to be in Color or Mono mode when saving to, or selecting any of the C1 to 4 presets. For example, one could have the "same" Color Profile saved in C1 and C2, with C1 configured for SAF (Single AF) and C2 for CAF applications.

This was the launch video of the Pen-F (Interesting - less than 5 minutes)

How do I use Custom Presets after 8 years with the Pen F? I never used C1 and C2, and configured C3/4 for Photo Story and SCN modes. I use the 3 SCP profiles as needed. For example, Profile 1 is my clipboard, and Profiles 2 and 3 might be my 1020 and Kodak 64 Profiles on any specific day.

The Pen F had five firmware updates: details below:-

• Olympus added a "Bleach Bypass " ART filter to the Pen F
• Custom settings C1 to C4 are saved with the camera configuration
• This makes it possible to share Pen F configurations with friends
• The ability to extract color and monochrome profiles from JPEG images
• You can now share color or monochrome profiles by sharing a JPEG file
• Shading effects have been added to the Adjust Color and the Color Creator
• The ISO auto settings have been expanded and are the same as the EM1 II
• They improved the operability of the AF Targeting Pad (camera display)
• ART filter selection and the touch function operation have been improved
• The current firmware version of the Pen F is V3.1

Creative Color summary. Pen F User Manual (V3.1) and page #:-

• Page 38 - Basics about the Creative Dial operation
• Page 39 - The Adjust Color function and SCP Profiles 1 - 3
• Page 40 - The Monochrome Profile function and SCP Profiles 1 - 3
• Page 66 - SCP Monochrome Profiles Grain filter
• Page 41 - The Color Creator function
• Page 42 - Art Filters
• Page 67 - Tonal Adjustments (Shadows, Mid Tones, Highlights)
• Page 67 - Monochrome Picture Mode - Color filter selection
• Page 64, 65 - Sharpness, Contrast, and Saturation adjustments
• Page 116 - Assigning Photo Story to C3 and SCN Modes to C4
• Page 116, 117 - How to use Photo Story (Newer cameras do not have this function)
• Page 118 - More about SCN Modes - Handheld Starlight, e-Portrait, and other
• Page 33 - 44, 88 - How to use Creative Color functions. How to set Custom Modes
• Page 179 - 182 - A summary plus how to use the V2 & V3 Firmware updates

Olympus E-P5 with the Lumix 20mm f1.7 lens. ISO200, f5.0, 1/1250. I converted the Enhanced Raw File and re-edited the jpeg in Workspace.

Configuring your Olympus Pen F

My focus was on Color Profiles when I wrote the original article in 2020. Over the past 5 years, my focus changed from Color Profiles to making Creative Color adjustments while photographing. Everyone's personal preference or photography style determines their focus or photography style. Some like the look of traditional film roles (Color Profiles), and others create beautiful photos in Photoshop. One is universal profiles like LUTs, and the other is tailored adjustments for specific scenes.

The Pen F is always ready for that next inspirational or creative moment. It might be a sunset, a city scene, a family event, or walking your dog. What is the first thing you do when spotting a photo? Do you consider framing options, foreground objects, and leading lines, or do you study the light (paint with light), colors, color harmonies, targeted/global colors, and post-processing options?

A = Creative Dial / B = Mode Dial (Custom Modes) / C = Lever

The Pen-F Mode Dial differs from the EM5 II, the EPL9, or the EM1 II. For example, the Pen-F has no Photo Story or SCN Modes on the Mode Dial. You must reconfigure Custom Presets C3 and C4 to Photo Story and SCN Modes. See the above user manual info and summary. That leaves C1 and C2 for camera configurations or unique color and monochrome profiles. That means you can have 9 color and 6 monochrome profiles as Custom Presets (C1 and C2 plus the 3 Profiles in the SCP).

Tip:- Custom Presets (Color Profiles) are more than Adjust Color or other Creative Color options. The complete camera or Workspace configuration is saved as a Custom Preset or Batch-Processing file. This means specific Adjust Color settings, tonal adjustments, and other camera settings. For example, I use C1 for 3 color profiles and C2 as a backup for my normal camera configuration.

Olympus Pen F with the G Vario 12 - 60mm f3.5 - 5.6 lens with ND filter (right). I converted the Enhanced Raw Files in Workspace.

The Pen F and E-P7 are very different cameras. Except for some performance differences, the Pen F and EM1 II have more in common. The Pen E-P7 is a minimalistic camera for excellent Creative Color control while photographing. Considering these three cameras, one can summarize Olympus' Creative Color and Computational features as follows:-

1. Global and targeted colors (Color Creator, Color and Monochrome profiles, WB)
2. Tonal (Gamma) profile (Gradation, highlights, mid-tones, shadows, Tone Curve)
3. Unique photo filters and adjustable effects with Olympus' ART filters and Photoshop
4. Old school Picture modes like Natural, Vivid, Monotone, Color Filters, and Grain
5. Traditional image adjustments like contrast, saturation, sharpening, clarity, and dehaze
6. Unique creative features like Photo Story, SCN modes, HDR, and Multiple Exposures
7. Computational (Live Composite, Live Time, High Res, Focus Stacking,  Live ND)
8. The TruePic Image Processor, Enhanced Raw Format, and Workspace integration

Most functions listed in points 1, 3, and 6 have more options, such as tonal adjustments, grain options, color filters, framing, and shading options.

The Color Profile (Adjust Color) Tool

A = You can select 1 of 3 factory set Profiles (Profile 1 is neutral)

Olympus describes the above SCP Color Profiles as:

"Of the three presets, Profile 2: Chrome Film Rich Color has rich, deep tones, and Profile 3: Chrome Film VS gives rich film colors with more saturation. You can adjust these two presets, or create your own profiles from scratch using the Color Profile 1 preset."

The Super Control Panel (SCP) Profile 1 option is an interesting "clipboard" while photographing. SCP Profiles 2 and 3 are factory presets. I often use the 3 SCP profiles as placeholders while photographing nature, city scenes, or family events. For example, I will have 2 or 3 unique monochrome or color profiles while photographing. The 3 SCP profiles help me to quickly change profiles.

The following camera variables are included in Color Profiles:

• All the camera settings like Picture mode, SAF or CAF, IBIS, and more
• The Color Profile tool with 12 different color and saturation selections
• Tonal Adjustments like Highlight/Shadow & Midtone and Gradation
• SCP settings like sharpness, contrast, and saturation adjustments
• Exposure Mode, Exposure compensation (Pen F Exposure Comp dial)
• Experiment by saving different camera configurations in C1 and C2

Olympus Pen E-P7 with the M.Zuiko 17mm f2.8 lens. I converted/edited the Enhanced Raw File in Workspace.

For example, practice your color awareness with the following:-

• Practice scanning your surroundings, identifying colors, and color harmonies
• When paging through a magazine, identify the main colors and the color harmonies
• Be aware of the people's clothes (colors) by checking color selection and harmonies
• Practice using different color harmonies (Complementary, Analogous, and Opposite)
• In time, you will find your color awareness and harmony considerations will improve

Advanced Monochrome Profiles

A = Monochrome Profiles / B = Grain filter setting or selection

Olympus describes the above monochrome profile presets as:

"Of the three monochrome profile presets, Monochrome Profile 2: Classic Film B&W provides a grainy monochrome look, and Monochrome Profile 3: Classic Film IR emphasizes red color filter effects for the look of infrared film. You can adjust these two presets, or create your own monochrome profile from scratch using the Monochrome Profile 1 preset."

Pen F with M.Zuiko 12mm f2.0 lens. I converted/edited the ORF+ file in Workspace.

The Pen F and E-P7 have two monochrome options. One is the advanced monochrome profile option, and the other is Monotone Picture Mode. Both are great B&W or monochrome options. Traditional film photographers had color filters on the front of the lens. The Monochrome Profile option has 27 old-school color filters. In my experience, it's good to start with opposite colors, unique lighting conditions, and contrasts. Practice is critical because each monochrome photo is unique.

Original image on the left and the Monochrome profile using a yellow base color on the right.

Again, the original image was done with a color profile, then a monochrome profile, and monochrome with a base color.

Pen E-P7 with 12mm f2.0 - ISO100, f5.6, 1/250. (MonoChrome Profile plus a little Photoshop)

How does one create/manage and share color or monochrome profiles?

See my how-to page here and technique #8 for a description of how to manage profiles. Olympus added a new gallery with color and monochrome images by Olympus visionaries. Each image can be downloaded to study the Exif data in Workspace. Each image also has additional information about the profile. This is a great source for Pen F photographers looking for ideas and inspiration. You can now lift any color or monochrome profiles with WorkSpace and transfer them to your Pen-F. You can also open the image and Exif data in WorkSpace, and manually transfer the settings to your Pen F.

Folks, I never copied a profile from an image, saved my camera settings in Workspace, or shared custom settings (profiles) with someone, in the 8 years I have owned my Pen F. I did learn how to work with color and how to apply that knowledge with my Pen F, E-P7, and Workspace.

I don't know if any of them are visionaries for OM-System (March 25 edited)

Part of Olympus' previous Pen F color and monochrome profile image collection.

An example of the available information for each image in the gallery

A more advanced technique for developing profiles is described in this article.

For example, use color cards to copy or create personalized profiles. I made a series of color cards with DXO film profiles. Each image represents another DXO film profile. This is a more advanced option and requires lots of patience and practice. These color cards also help photographers develop a good feel for color and learn how others create profiles.

Visit my Pen F "Color Profiles" page.

Olympus Pen E-P7 with the M.Zuiko 17mm f1.8 lens. The key to Monochrome Profiles is light (painting with light) and color.

Live Composite

See this link for 7 interesting TIPS on how to use the Live Composite function.

Photo Story

Photowalk and Advanced Exposure Techniques

Last Update: 27th May 2024

My wife and I were driving past an old town of Rapperswil at the far end of Lake Zürich. Returning from our appointment, we decided to stop at Rapperswil and spend an hour or two in this lovely old town. My wife with her EM10 III, and I with my Pen F and the 12-50mm f3.5 - 6.3 EZ lens.

I also wanted to try my Gossen light meter. The idea was to use the Gossen for more demanding cases like exposure techniques like ETTR for street/city photography. (Walimex is a Gossen)

Olympus EM1 II w 30mm Macro, 2x FL600, mini studio, RC Mode.

Regular visitors to my blog know I've been on a journey studying the camera's image sensor, types of image sensors, the size and capture theory, and different exposure and focusing techniques.

While searching for information for my Gossen, one thing led to another, and I came across the Sekonic YouTube presenter, Joe Brady. In his videos, Joe demonstrated the benefits of using external light meters with modern cameras. Joe convinced me to keep the Gossen in my exposure toolbox. The Gossen was tucked away in my photography "to-do" list until I saw Joe's videos.

It's now 3 years since I started studying image sensors. In time, I read different articles on DPReview and participated in heated forum discussions. I always compared the information I received to theoretical and technical articles published by engineering schools, image sensor manufacturers, the European Machine and Vision Association, and other enthusiast websites. 

As in most cases, finding that one thing that matters needs unpacking the fluff and talking. Without getting too much into the sensor size debate, those who did change from one format to another know it takes way more than the size of the sensor or pixel area. The 3 factors we should consider are buying/selling costs, the size and weight of camera equipment, functionality, and lens options.

Focussing on one thing, I discovered the key to optimum image quality is using the image sensor at its optimum SNR and saturation. (Figure 1) It became clear that the digital camera is not a digital paintbrush. The ideal SNR is specific and available in a small operating window. This motivated me to shift the creative part of my digital photography to the post-processing phase in Workspace.

The image recording phase is simply a data-collecting phase and nothing more. The goal is to select the "best" exposure mix to push the sensor to its ideal performance window. This "ideal" performance window happens when the sensor reaches an optimum SNR and Saturation. (See Figure 1) The sensor records more tonal data with the lowest visible noise when saturated.

Figure 1.

It took my wife and me 2 hours to complete our photo walk in Rapperswil. I selected an ISO of 200. The cloudy conditions would benefit from the higher DR at ISO200. I started with an aperture of f5.6 and aperture mode. That meant I had to carefully select my focus point and monitor the histogram when using ETTR or upping the exposure. This process of monitoring and adjusting the exposure is quick and takes seconds. The photographer's experience in advanced exposure techniques guides their decisions to select an ND or Polarizer filter, stacking or bracketing, or the camera's HDR function.

Olympus Pen F with 12-50mm ISO200, f5, 1/500 - Raw file converted in Photoshop (only basic settings).

I adjusted the exposure of the above scene with the Gossen. Study the histogram. The Gossen's exposure reading was the equivalent of the camera exposure at +0.3 EV. The dynamic range of the scene was influenced by the clouds. For example, one has more or fewer clouds in the exposure frame by pointing the camera up or down. With the camera's exposure reading pointed toward the clouds, the street-level exposure and SNR decrease, and the visible shadow noise increases. 

Not that shadows generate image noise. Less reflected light on the sensor means a smaller SNR, less tonal data, and more visible noise. Interestingly, the Gossen exposure meter is less affected by clouds because its FOV is 180 degrees. The camera's FOV is linked to the focal length of the lens...

This is the same image edited in Luminar 4 - One can see how the camera handled the DR well.

The above image is an edited version of the RAW file. While editing the RAW file in Photoshop, I knew the RAW file had enough tonal data, which enabled me to push the RAW file a little more. 

I upped the camera's exposure with the aperture "gain" option (image below). The histogram shifted to the right, and the street-level image brightness improved with the higher exposure level. My final exposure benefited from an ETTR gain of +1EV. Moving the histogram to the right means the darker street level benefits from more tonal data and less noise. An increase in tonal data benefits the complete tonal range. Exposure techniques like HDR increase the tonal data even more. I also used the camera's over- and underexpose indicators to monitor highlight and shadow clipping. The Olympus histogram is flexible enough to help us find the best possible exposure mix with ETTR. 

I rarely go for clipping-free exposures. The brighter clouds did clip a little in the above example. I was OK with that because most people wouldn't recognize any clipping. I apply the same rule for darker shadow areas. I learned it's better to clip (turn black) some darker areas and prevent non-critical areas from showing noise. This is similar to what Panasonic does for filming. For example, Panasonic allows us to work with a smaller tonal range of 15 to 256. Study the OOC JPEG below. 

This is what the camera's JPEG looks like when one applies an ETTR of +1EV.

The image below is the edited Raw conversion of the above JPEG. I pushed the sensor to its optimum saturation and SNR with my exposure mix. This allowed me to "push" the conversion of my raw file a little more. Study my articles about Workspace and the Enhanced Raw Format for more.

Those preferring out-of-camera "ready" JPEGS should read the following. The secret is to treat your Raw and JPEG files differently. The RAW file can be pushed to have more tonal data with less visible noise and can be re-adjusted to mimic the scene in post-editing. Jpegs are different and benefit from more accurate exposures. For example, we can tweak the gamma curve of Olympus cameras. This is done with exposure compensation and the Gradation and highlights/shadows functions.

The following settings allow us to create JPEG profiles in the cameras. For example, use the mid-tone slider to correct ETTR adjustments and the i-Enhance Picture Mode to activate the Olympus image quality features. The gradation function improves shadow details and limits clipping, and the highlight and shadow sliders are used to add contrast or manage the shadows and highlights.

Olympus Pen F with 12-50mm lens - ISO200, f5.7, 1/250 (+1EV ETTR) - Raw file converted and edited in PS and Luminar 4.

Final thoughts on saturating the image sensor and ETTR

Study this article to learn more about ETTR or what it means to "flood" the sensor. Study this article for more on how to read the DxOMark image quality database, and read this article discussing the 4 things that will improve your image quality. The image creation process for the above image starts by reviewing any depth-of-field (DOF) or movement requirements linked to the aperture and shutter mix. The next step is to optimize the sensor. I used the following camera settings for the above image:

• ISO200 (Manual setting - see intro text)
• Shutter speed of 1/400 (Aperture-Mode - shutter speed was selected by the camera)
• An aperture of f5.6 (The photographer's choice in Aperture Mode - f5.6 creates a large DOF)
• I used my Gossen exposure meter reading with an ETTR of +0.5 EV to up the SNR.
• The histogram confirmed that I could shift the histogram to the right by +0.5 EV.
• I used the histograms under/overexposure warnings to find the final exposure mix.

The final step focuses on the reflected light reaching the image sensor. The aim is to expose the sensor optimally with techniques like ETTR or stacking. Which of the above exposure settings would you change if you had to increase the shutter speed? I manually selected ISO200. We also know that the ISO does not control the reflected light to the sensor like the aperture/shutter mix. 

The target is exposure and not DOF when using the aperture gain effect. That means doubling the reflected light to the sensor for every 1EV aperture increase. This exposes (floods) the sensor with information. The question is, how does this affect the DOF? Something that should be talked about more is the 2-stop DOF (Depth-of-Field) advantage of M43 cameras.

This M43 (DOF) advantage varies from application to application, like macro, landscapes, or city scenes. Always experiment and use your photography experience to select the best exposure mix. Photographers migrating to M43 cameras tend to prefer higher apertures. For example, they will use f8 to f11 for landscapes, whereas f5.6 to f7.1 is enough for landscapes on M43 cameras.

Pen F with 12-50mm, ISO200, f5.1, 1/200 and +0.3EV (ETTR)

It was safe to add +0.5 EV reflected light to the sensor for the first image of Rapperswil. The brighter street level and 50% more reflected light onto the sensor didn't affect the original DOF much.

If you want to experience the full benefit of aperture gain and how it impacts sensor performance, apply this technique to older M43 or smaller sensor cameras like the Olympus X-Z2.

The takeaway is that the aperture changes the reflected light (gain) or DOF. Exposing to the right (ETTR) means more aperture gain, especially in poor light conditions with slower shutter speeds and higher ISOs. One needs as little as +0.5EV to improve the sensor's saturation. A full stop will seriously flood the sensor. More reflected light means a better SNR, more tonal data, and less Visible Noise.

It helps to practice with older 12 and 16MP mirrorless or compact cameras. The benefits are more visible with older image sensors, and it also helps to master the DOF versus gain principle. 

Do later 16MP and 20MP sensors also benefit from this technique? Absolutely, but the differences are less visible for newer versus older sensors. The camera's auto-exposure algorithm saturates the sensor more with newer Olympus cameras. See this article about Olympus' safety headroom.

Olympus Pen F with 12-50mm f3.5-6.3 EZ lens, ISO200, f5.0, 1/350, +0.3EV (ETTR) - Raw file converted in Photoshop.

ETTR summary plus a real example

Last Update: 24th May 2024.

This article discusses the 7 points photographers should know about digital cameras.

Olympus EM1 II with Leica 25mm f1.4 lens - ISO6400 f7.1 1/13Sec with ETTR - Enhanced Raw file converted in WorkSpace and edited in Photoshop.

What is ETTR or Exposing to the Right?

ETTR means the best possible aperture, shutter speed, luminance, and ISO mix. The goal is a higher SNR with a saturated image sensor. The ISO function does not control the reflected light reaching the sensor, whereas the shutter and aperture physically control the reflected light exposing the sensor. Enough luminance means a saturated sensor, higher SNR, tonal data, and image quality. This article discusses luminance, illumination, reflected light, and the direction and types of light.

What is the role of the ISO function?

We manage 4 of the variables in the exposure formula. These are the aperture, shutter speed, ISO, and luminance. The ISO does not change the sensor's sensitivity. It amplifies the image signal and the noise coming from the sensor. See my other articles for more about the sensor's noise floor.

I use a fixed ISO to match the ambient light in buildings while adjusting my aperture, shutter speed, and luminance (flash) mix to find an optimum exposure or saturation for the sensor. Study this article for more about the ISO, aperture, shutter speed, and illumination. This article reviews the ISO as an image signal amplifier or brightness adjustment. One can also use the ISO strategically...

The most critical variable impacting image quality is understanding the ISO. 
Avoid Auto ISO settings and learn how to manually set the ISO.

What are the benefits of ETTR?

The most critical variable we manage is sensor saturation. The average consumer camera records more tonal data (image quality) with a saturated sensor. Digital cameras typically double the tonal data for every 1EV of ETTR. That means the histogram moves to the right, the sensor's Saturation and SNR increase, and the camera's tonal data improves.

The under-exposed version has approximately 75% less total data.

How does one apply ETTR?

I only use ETTR for the most challenging cases. A fixed Exposure Shift of up to 1 EV is enough. I also prefer Aperture or Shutter Mode with a fixed ISO. For example, an ISO of 64 or 100 is perfectly OK in most daylight conditions. I also use my ISO function strategically because we know it adjusts image brightness and is part of the exposure formula. A fixed ISO lets us use exposure compensation for ETTR while monitoring the sensor's saturation and SNR levels with the histogram...

A copy of the Olympus EM1 II display when the camera selected the exposure.

Olympus cameras have a default safety Headroom to prevent the sensor from clipping. For example, the camera's exposure meter shows a correct exposure while the sensor is not saturated. It's possible to manage this safety headroom with ETTR. For example, one can increase the exposure by up to 2 EV with the blue sky as a background. Another scene might limit the possible ETTR compensation to 0.5 EV. The camera's exposure meter will show an overexposure reading with ETTR. We correct this in Workspace with the exposure compensation (ISO) function.

Study the image below. I used an ETTR of 1EV. There was enough available dynamic range to increase the exposure with another stop. This is how much the camera's exposure meter desaturated the sensor. The processed tonal data in the shadows suffer most in these conditions...

A copy of the Olympus EM1 II display with an ETTR of 1EV.

General comments

Photographers think that ETTR only works at the camera's base ISO. This is not 100% correct because digital cameras are designed to capture more tonal data with the histogram to the right, irrespective of the ISO value. The dynamic range does reduce a little at higher ISOs. Does this mean we shouldn't use ETTR at higher ISOs, or should we manage the situation? 

Tip:- The ISO effectively adjusts image brightness and not the exposure.

In terms of exposure, the following basics are critical:-

• The aperture and shutter are the only variables controlling the light to the sensor
• The ISO function only amplifies the image signal coming from the image sensor

Do this quick ETTR experiment:-

• Find a scene with deep shadows and not overly bright areas.
• Set the camera to A, S, or P Mode with Auto ISO and take an image.
• Use the above camera settings (fixed ISO) for a 2nd image in Manual Mode.
• Use your aperture or shutter speed to increase the exposure in 0.5 EV steps.
• The histogram shows what's happening on the sensor with a fixed ISO.
• Download the images to your PC and study the shadow areas for noise.

Conclusion

The camera's histogram tells us when the image sensor is desaturated at base ISO or when the camera uses its DR safety exposure headroom. This "safety headroom" is one of the main reasons of having visible shadow noise. Knowledge and experience taught me it's safe to overexpose Olympus cameras with up to 1EV (ETTR) and correct it in Workspace. The secret is a fixed ISO and watching the histogram for highlight clipping while applying ETTR (adjusting the aperture/shutter).

The most important aspect I learned from my M43 journey studying sensors, testing Olympus cameras, and writing articles is, image noise has become an effective counter-marketing strategy to discredit the M43 cameras. I recently tested the impact of pixel area has on 15 cameras. The shadow image quality differences were surprisingly small. You can find the article here.

Do I use ETTR often? I have many Olympus cameras in my collection. I photograph almost every day with one of them. I regularly use these cameras while preparing for articles. I am confident the Olympus engineers selected excellent 16MP and 20MP sensors. This means these sensors perform well in a wide range of applications. I occasionally apply ETTR, but learned that my understanding of Olympus cameras is more valuable than focusing on noise and ETTR...

Sony A7 III with 50mm, f1.8 lens - ISO25600, f7.1, 1/30sec, and ETTR - The Raw file was edited in PhotoLab 3 plus PhotoLab 3 noise reduction.