VideoPic Blog: November 2022

Last updated:- 22nd January 2023

Many photographers convert and edit their raw files with the same software. PhotoLab and Lightroom are examples of converting and editing raw files with the same applications. While safe for accurate White Balance and evenly exposed raw files, converting your Olympus raw files in Workspace and editing the 16-bit Tiff in Photoshop is often a more rewarding editing strategy.

We are studying an example of converting and editing the same raw file with different applications. You should know I used the same White Balance for the various raw converters in this article. My default Color Space is typically RGB for my raw files and SRGB for the web.

Olympus EP-7 with 12-45mm f4.0 lens - Out of the camera jpeg (ISO200, f5.0, 1/100).

The above scene had more shadow detail in real life. It's easy to assume there was no reflected light from the shadows when viewing the JPEG. No reflected light means no image, no matter how hard we push the ISO. The example below is an edited version of the above JPEG. Did the camera capture or process too few color details, or will the Enhanced Raw File reveal more color information?

This is the OOC Jpeg. I increased the shadow brightness with PS.

The Enhanced Raw Format plus Workspace lets us extract more image information from the captured raw data. The key to success is the Exposure Mix we applied with the camera, the Truepic Processor, and its similarities to the Image Processor in Workspace. The Olympus Enhanced Raw Format is unique and helps us to evaluate and adjust most of our camera raw settings in Workspace.

For example, we can fine-tune the camera's exposure compensation in Workspace. That means we can verify our White Balance (18% Gray) and "Gradation" (Gamma) settings in Workspace. See the ETTR technique in the next paragraph. See this article on how to use the Gradation function.

The Gradation "High" option automatically selects the best ETTR values for your image. Think of the Olympus Gradation function as another variable in your exposure mix. You should always ask, how can I improve my image sensor's output signal, and how do I finalize my neutral gray values in Workspace? How do we reset the camera's Gradation values in Workspace? Simply select the default "Normal" option in Workspace. This will reset your image and the final tonal values to neutral gray.

Why would one use the gradation function with techniques like ETTR? We learned the image sensor does better when it is saturated. It's sometimes better to prioritize the sensor's saturation and SNR values over an accurate Neutral Gray in the camera. Think of low-light or high-contrast scenes.

It's good to prioritize Tonal Data with the camera. This is something we will review in more detail in the future. For example, how many of you worked with the Gamma function in Olympus Viewer 3? Those reading my articles can explain the Gamma function and the benefits of using ETTR.

Also, study my article explaining the Gradation function and this article by Adobe.

It's also good to always keep a Polarizing Filter (PF) in your camera bag. Use it on your camera with the Gradation "High" option to control or cancel any reflections from water or bright surfaces. For example, why does the Spider Cube have a little chrome ball on the top of the cube?

The images below are illustrations only.

Olympus E-P7 with 12-45mm f4.0 lens - Enhanced raw file converted in Workspace (ISO200, f5.0, 1/100).

The real benefits of the Enhanced Raw Format are Step 2

The converted 16-bit Tiff files are edited in the 2nd step. It's normal for more advanced image editing techniques with more image data. Workspace (image processor) and Sensor Sensitivity (captured details) enable us to extract more image data from our Enhanced Raw Files. We know the Olympus Live MOS sensor is more sensitive than Standard CMOS sensors, and BSI sensors further improve the Optical Efficiency of the sensor. BSI sensors are more sensitive than Live MOS or Standard CMOS sensors. High-sensitivity sensors are known for their ability to capture more shadow detail.

More image data and 16-bit Tiff files enable us to apply more advanced image editing techniques, like editing parts of the image separately. The image below is an example of using different editing techniques for the shadows and the brighter parts of the photo. I upped my shadow brightness in Photoshop. The ability to divide and mask the image improves with new editing software.

It's also good to treat sensor sensitivity and image noise separately. For example, all image sensors come with a noise floor. The sensor's saturation level (exposure) and SNR are responsible for any visible image noise. Olympus gave us several options to control and manage image noise. See this excellent video. Unfortunately, the presenter did not add the Exposure Mix to his list.

Olympus E-P7 with 12-45mm f4.0 lens - Raw file converted with Photoshop 2023 - (ISO200, f5.0, 1/100).

I never use Lightroom because my preferred Adobe application is Photoshop. I like Photoshop for my raw, jpeg, and 16-bit Tiff files. Photoshop 2023 seems better than previous versions, especially with Olympus raw files. The 2023 version of the Adobe Raw Converter also improved a lot.

Adobe said my perfectly working iMac (2014) is too old for Photoshop 2023. I decided to upgrade to a "new" Intel iMac. See the article here...

Olympus E-P7 with 12-45mm f4.0 lens - Raw file converted in PhotoLab 5 - (See the color cast on the house ).

Olympus E-P7 with 12-45mm f4.0 lens - I converted this raw file in PhotoLab 6.1 and edited the Tiff file in Photoshop.

The ClearView Plus setting is a powerful option for PhotoLab and the main difference between the above 2 images. The default value for Clearview is more aggressive, whereas mine is softer. This is also a "point-and-shoot" image and not a textbook example of optimizing the exposure mix.

See this article for more on IQ and Exposure Mix.

Fuji X-T4 jpeg file in a similar scene. I upped the brightness in PS.

What do we learn about the Olympus EP-7?

The sensor received two different exposure levels in this example. The sensor was less saturated in the shadows with a lower SNR, less tonal data, and more visible shadow noise. The brighter areas saturated the image sensor, with less noise, more tonal data, and a higher SNR. What happens if I increase my exposure mix (shutter and aperture) with 1EV?

The available detail in the raw file means the sensor's sensitivity is good, and the low level of visible noise tells us the sensor's noise floor is relatively small. For example, I only used the "standard" noise reduction option in Workspace, the Prime setting for PL 5, and only a little noise reduction for PS.

This is the best-ever photography and lens combo from Olympus. Each Olympus enthusiast should own at least one like this!!!

The question is, why did I select casual exposure settings with no ETTR? We do not always need 102% image quality. This is important to those "creative" photographers who prefer specific results from selecting different or "creative" exposure settings (Working with different tonal levels).

The E-P7 is an excellent street photography camera for those working with color, monochrome, and creative techniques. What are the top 5 reasons why this is the best-ever Olympus combo? How was it possible for a forum reject* like the 17mm f2.8 to reach this status? What do you think?

The original images I used for this article (I needed something for WS).

Conclusion

The images below remind us of the EM1 III's excellent image quality with something like the 17mm f1.2 pro lens. Take a moment and consider the 4 cameras in this article. Each camera offers superior image quality with specific strengths and weaknesses. The decision of which is best for you and your needs is no longer a process of evaluating image quality. The Fuji X-H2 and X-H2S are excellent examples. They use unique image sensors to offer specific strengths and benefits...

The process of converting raw files and separately editing the converted 16-bit Tiff files is the same for "normal" images. I convert my raw files in Workspace and edit them with PS or ON-1. I also started to select the jpeg option more often for my EM1 III, the E-P7, and the Fuji X-T5. I edit those jpegs in one session with ON-1. See this link.

This short article summarizes the main conclusions of my journey on image sensors. I don't wish this on anyone. Study my articles to see the effort it takes to break away from the programming effects of the "size and capture" marketing program. Why is this important? You will only master your camera if you step away from anyone promoting the size and capture theory.

Take care and God's Bless

Siegfried

* Undisclosed or paid forum promoters habitat in the negative and are not paid to be positive. - link

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