Olympus EM-5 III, Workspace, and AI noise reduction

Last update: 14th December 2025

My wife and I visited the X-mas show on the island of Mainau in Lake Constance, Germany. The island of Mainau is known for its seasonal flower presentations and the X-mas show in December. I decided to take my E-M5 III and my favorite 25mm f1.4 lens due to expected cloudy and low-light conditions. I also knew many people would visit the X-mas show, which meant less time for me to frame my shots, handheld photography, and higher ISO values. I recently sold my M.Zuiko 17mm f1.2 pro and kept my Leica 25mm f1.4 lens. The Leica is simply a more exciting and versatile lens.

I converted my RAW files with Workspace and prepped some of my posted images with Affinity. The images in this article showcase the older 20MP sensor's ability to capture enough data for high-quality results across the sensor's linear operating range. Low-light photography is a joy with a combination like the EM-5 III, the Leica 25mm f1.4 lens, the Enhanced Raw Format, and the Workspace AI noise filter. One could get even better results when adding the OM System OM-3 to this mix.

Note: I added an example of changing my camera settings in Workspace.

Christmas reminds me of the birth of Christ and X-MAS of something totally different...

The E-M5 III is known for its image quality, pro-level sensor, and tiny noise floor. The depth-of-field (DOF) advantage of M43 cameras supported my decision to use f1.4 in these low-light conditions. I also knew the E-M5 III cluster AF function would optimize the DOF with the right autofocus point. The AI noise filter from Workspace is perfect for ISO 800, 1600, 3200, or 6400 if needed.

The bright LEDs and overpowering colors of the X-mas show made it difficult to capture what we saw with my standard camera configuration. I knew I could review my camera settings with the enhanced raw format and Workspace. I also knew I could use EP-7 color functions with the enhanced raw files of my E-M5 III. See my articles on Olympus cameras, the TruePic image processor, and Workspace.

I highlighted several critical aspects about modern image sensors in 2025. The most significant aspect is the sensor's optical versus technical characteristics and the photons-to-electrons conversion graph. The latter help us to master aspects such as sensor saturation, SNR, and the linear nature of recording reflected light. I will focus more on this linear aspect of sensors, the gamma or tonal curve, and color in 2026. For example, modern pro-level sensors perform well across this linear range.

Photographers learned to appreciate the human aspects of photography in 2025. The introduction to AI highlighted concerns about photography know-how when substituting knowledge for sensor size, AI masking, and AI autofocusing. A critical aspect for review is the difference between computational or AI features and statements from web services like ChatGPT and xAI. The mix of theoretical, political, and commercial platforms serving as AI data sources highlighted critical discrepancies when receiving information from xAI or ChatGPT. For instance, AI will claim that bigger sensors are better when referencing data sources such as DPReview, or the camera's optical and technical design criteria guide the camera and sensor's operating efficiencies when referencing theoretical sources.

My personal highlight for 2025 is Affinity and learning more about the innovative RAW conversion and editing initiatives of the previous imaging business. Workspace became one of my preferred options while testing and studying Olympus cameras. See my articles for more about creative color, the M43 digital sensor format, color basics, the gamma (tonal) curve, sensor saturation, and SNR. Workspace is a reference to the groundbreaking solutions initiated by the previous imaging business.

Another highlight from 2025 is OM System's ongoing commitment to photography and the M43 segment by introducing exciting new products. My personal favorite is the OM System OM-3. The new OM-3 has quickly become a worthy replacement for my older Pen F. I am looking forward to writing more about Workspace and cameras like the OM-3, the E-M1 III, the E-M5 III, the E-P7, older cameras like the E-M5 II, and Olympus DSLRs like the E-3, the E-30, the E-620, the E-500, and the E-450.

PS. I think we should acknowledge and support this commitment to the M43 segment more in 2026...

Global color adjustments like WB or the Color Creator works better for LED and reflected "color" presentations like these. Why?

The color control we have with Olympus (OM System) cameras and Workspace surprised me. Reflected light and WB are normal variables for camera manufacturers. WB is typically expressed as sunlight, shadow, clouds, and artificial light. The EM-5 did not know how to interpret the extreme color shifts from the colored light sources at Mainau. The Color Creator is not only unique in "normal" lighting but also for the colored illumination of large concerts, laser shows, and LED presentations...

The images in this article show what's possible when we ignore "independent" social media influencers repeating the same scripted lines or those simply repeating similar "bigger is better" lines. Take the time to learn more about Olympus and OM System cameras, Workspace, and how they could benefit your photography and image editing. It shouldn't be a surprise that modern M43 cameras capture high-quality RAW data. Some just make it much easier to create excellent JPEG images.

Folks, I like to wish you a blessed Christmas season and only the best for 2026.

Siegfried

An example of the extreme color effects at Mainau. Workspace gives us tremendous control.

Olympus E-M5 III with the 25mm f1.4 Leica lens. ISO3200, f1.4, 1/5th. I converted this night scene (Enhanced RAW file) in Workspace.

Walking with my OM System OM-3 and my Fuji XT-5

 Last updated:- 16th November 2025

Corporate marketing values were very different when Olympus introduced its new flagship digital SLR to professionals and serious amateurs. Interestingly, it was the same year that Apple introduced the first iPhone. While using my Olympus E-410, I recall the excitement about the E-3 with its new high-performance options consisting of 5 fps, 1/8000th shutter speed, and the "world's fastest autofocus." I sold mine 3 years later in 2010 and was fortunate to find another one in 2025.

I converted and edited this EM-1 III with Lumix 35-100mm f2.8 raw file in Workspace.

Digital cameras like the Konica Minolta A2 and the Olympus E-3 formed the foundation of my digital photography skillset. I continue to use and value this basic skillset and the experience I gained with these and cameras like the E-M1 series. What made the "world's fastest AF" technology special is the E-3's ability to almost instantaneously focus and lock onto the subject. The 11 cross-type autofocus points improved the E-3's continuous AF performance while following a subject.

Olympus E-3 with the Zuiko 9-18mm f4-5.6 lens. I converted and edited the above 4 Enhanced Raw Files in Workspace.

It was a lovely sunny day in Switzerland and perfect for a walk in nature with my OM-3 and the XT-5. I was interested to see what the images of these 2 cameras would be like when I only use the camera and the RAW converters from OM System and Fuji. What makes Workspace and RAW Studio special is their ability to synchronize with the camera's image processor. What differentiates Workspace and Olympus (OM System) cameras from Fuji is the implementation of gamma controls. The tonal options of Workspace are more accurate, flexible, and effective than anything else I've tried.

OM-3 with the Zuiko 12-45mm f4 Pro lens (iEnhance Picture Mode). I converted the raw file in Workspace.

Fuji XT-5 with the 18-55mm f2.8-5.6 lens (Provia fim simulation). I converted the raw file in RAW Studio.

My current editing style consists of converting my raw files in Workspace or RAW Studio and editing the exported files with Affinity. I cancelled my Photoshop subscription and replaced it with Affinity. In fact, the latest version of Affinity is now free. While taking some time to familiarize myself with Affinity, I realized it's similar to Photoshop plus the tonal controls from Workspace. Manufacturers are better at converting raw files than any of the commercial alternatives. Better conversions mean better base-level data, not the included editing options of modern raw converters. Affinity has more editing features and flexibility than any of the commercially available RAW converters.

The focus is different with Olympus and OM System, meaning it's changing from "recovering" highlights and shadows to focusing on the natural balance between the highs, midtones, and shadows. It simply means tweaking the OM-3 or Workspace gamma curve to better mimic the original scene. The image will literally pop as you get closer to the right mix of exposure and tonal adjustments.

See this article for more...

OM System OM-3 with the 12-45mm Pro. This is a handheld 50MP high-resolution image. I converted the raw file in Workspace.

OM System OM-3 with the 12-45mm Pro lens. This is a cropped version of the above high.resolution image.

I almost never go beyond +4 or -4 when adjusting the different tonal values (sliders) in Workspace. My tonal adjustments normally vary between +2 and -2. That means the right mix between exposure compensation (a global setting), tonal curves, and highlight, midtone, and shadow adjustments. I also use the iEnhance picture mode and AUTO gradation option in some cases. For example, I used them for some of the images in this article. My default camera setting is the iEnhance Low option and no gradation. See my articles for more on reflected light, the 4th exposure variable, and the process I follow when photographing and converting or editing my raw files in Workspace or Affinity.

Fuji XT-5 with the 18-55mm f2.8-4 lens. This is a cropped version of the original XT-5 (40MP) raw file.

The OM System OM-3 and the Fuji XT-5 are excellent but very different mirrorless cameras. Both offer something unique with a strong resemblance to their professional counterparts. The X-T5 is special with its traditional dials and more hands-on operating style, while the OM-3 is unique with its ability to target and adjust specific colors. The general trend is global adjustments, whereas the OM-3 lets us create global color effects as well as specific color adjustments and profiles. What makes the OM-3 special is the link to the OM-1 series, powerful color and computational features, and the integration of the TruePic X image processor with Workspace and our personal computers.

Apart from being very different cameras, the application of the E-3, the OM-3, and the XT-5 changes with each camera's sensor sensitivity, resolution, image processing technologies, and computational features. The benefits of high-resolution sensors are application-specific and not a general necessity for image quality. For example, do you prefer more megapixels or more efficient image sensors? More megapixels simply means camera manufacturers are offsetting sensor sensitivity improvements. The practical implication is the +2EV sensitivity benefit for the OM-1/OM-3 image sensor and more pixels for the XT-5 with only marginal efficiency improvements over the older XT-4.

It's fair to say that it's almost impossible to do an unbiased comparison of these cameras when looking at the time and effort it takes to master the OM-3 and the XT-5. These are excellent cameras and top contenders for the trained and experienced photographer who also appreciates any technical, optical, and functional differences. You will notice that I am more comfortable with the OM-3, as it excels in creative color, managing tonal data, and painting with light applications. The Fuji XT-5 requires more post-processing for similar results. One could say the X-T5 is better at presets or film simulations, and the OM-3 is perfect for the creative and experienced photographer.

It's worth mentioning that these two cameras use high-sensitivity sensors. The ongoing social media conversation about dynamic range (DR) and noise is irrelevant because it's based on a commercially motivated "bigger is better" theory. I didn't find any "critical" DR or noise differences between these two cameras. The technical similarities between them are, however, fascinating. A new world of photography and editing is waiting for those stepping away from social media "advisors."

The XT-5 reminded me of the optical differences and characteristics of larger sensors. Being familiar with the deeper DOF of M43 cameras, I only noticed the reduced DOF while editing the XT-5 files. As you know, different sensor sizes change the sensor's image circle and the physical size of especially pro lenses. It also changes aspects like depth of field (DOF) and background blur. Technical variables like dynamic range (DR) and noise do not change with different sensor sizes. The design criteria and budget versus high-sensitivity sensors change the DR and noise of every image sensor.

These basics become more evident when we use the XT-5 and the OM-3. Anything other than portrait photos requires more care to create a deeper DOF with the XT-5. The experience needed to manage the technical aspects of these cameras applies to ALL cameras. Basic photography skills, editing, and creative know-how are general advantages, especially when using these two cameras.

OM-3 with the Zuiko 12-45mm f4 Pro lens (iEnhance Picture Mode). I converted the raw file in Workspace.

Fuji XT-5 with the 18-55mm f2.8-5.6 lens (Provia fim simulation). I converted the raw file in RAW Studio.

I've been experimenting with older cameras to improve my technical skills on digital cameras over the years. My current plan is to sell most of my cameras and to focus on Olympus and OM System. The most difficult one to let go is the Fuji XT-5. Cameras like Canon, Olympus, and Fuji are known for excellent image quality and flexibility when converting RAW files or editing JPEGs.

The OM-3 and the XT-5 are excellent examples of edit-friendly cameras. It's a joy to do photography with them and to process the RAW files in Workspace and RAW Studio. As mentioned elsewhere, my photography style focuses on natural light patterns and the basic concept of painting with light. It explains my preference for these two cameras with Workspace, RAW Studio, and Affinity.

The above composition shows the effect mindset has on our photography. The repetition of dynamic range, high ISO values, sensor size, and noise negatively impacts our photography. The alternative is learning how to work with reflected light, the gamma curve, and SNR. Workspace and RAW files let us manage color variances and rebalance the gamma curve, not correct exposure failures.

My goal with this article was to show what M43 photographers can expect from OM System, Olympus, and Fuji cameras when using Workspace and RAW Studio. The challenge modern photographers face is the camera's default gamma curve and marketing. The concept of color and tonal control, painting with light, and the camera's image processing moves us closer to brighter and happier photos.

Best

Siegfried

My OM System OM-3 photos.

My Fuji XT-5 photos.