The subtle benefits of an inclusive approach to assessing the unique nuances impacting our digital exposure mix are overshadowed by marketing initiatives, the transition from analog to digital, and the commercial focus on the camera's image sensor. A fundamental analysis of theoretical principles revealed that the emphasis on the image sensor often overshadows the benefits of a more inclusive approach to creating the right exposure mix, the digital imaging process, and how we utilize these exposure and tonal nuances to improve our digital photography and overall experience.
Update: I didn't expect this article to receive so many views. Thank you.
Most photographers are introduced to digital photography through the lens of the exposure triangle, which defines the aperture, shutter speed, and ISO. Photographers are generally advised to keep the ISO value low, as higher "sensor sensitivities" could lead to unwanted image noise. The aperture and shutter speed ratio not only influence the exposure mix, they also guide optical effects such as depth of field, while varying shutter speeds express movement in the scene.
This mainstream view of the exposure triangle gave modern marketers a significant advantage. For instance, would you classify the exposure triangle as leaning more towards analog or digital cameras? It is worth considering that modern marketing campaigns tend to include elements of truth while omitting critical details. The illustration below offers photographers a more detailed overview of the exposure nuances and digital processing of the image signal inside the digital camera.
Figure 1.
Most digital photographers are familiar with the journey of mastering the dual purpose of the shutter and aperture mix. Achieving the perfect exposure mix includes optical effects such as background blur or the interpretation of moving objects, which demands both experience and regular practice to eventually become a natural routine. You may be surprised at how quickly one learns to add sensor and gamma controls to this traditional process of finding the ideal exposure and tonal mix.
The 8 unspoken nuances impacting your camera's exposure mix:
There is way more to the camera's sensor than its diagonal measurement.
Each digital camera (sensor) has unique technical and optical limitations.
We use the aperture and shutter to expose and saturate the image sensor.
The ISO amplifies the image signal; it does not adjust sensor sensitivity.
It's crucial to master technical aspects like saturating the sensor and SNR.
Consider and manage the 4th exposure variable; Average scene luminance.
Managing the camera's sensor maximizes dynamic range and image noise.
The unique differences between the exposure mix and tonal adjustments.
I converted/edited this EM5 II enhanced raw file in Workspace. I used tonal adjustments to finalize the look.
The above flow diagram (Fig. 1) illustrates the image signal path from the lens to the final JPEG. My advice is to familiarize yourself with this illustration. The following points are helpful:
The shutter and aperture control the reflected light to the sensor.
We manage the avg. scene luminance with a flash or the time of day.
The ISO amplifies the image signal and noise from the image sensor.
The TruePic image processor manages the image creation process.
The gamma curve converts the linear sensor data to a human format.
The gamma Gradation feature also controls the exposure controller.
The enhanced raw format links the TruePic processor to Workspace.
We use a fixed ISO to monitor/control the reflected light to the sensor.
Fixing the ISO means the histogram shows shutter and aperture values.
A basic version of this Olympus know-how applies to all digital cameras. For instance, similar to the Olympus gradation function, Fuji has DR100, DR200, and DR400, and Canon has the Auto Lighting Optimizer. Tonal or gamma controls include shadows, highlights, and midtone adjustments, plus the tone curve option of Workspace. For more in-depth articles on these topics, refer to this link.
Workspace is a great RAW converter for the Olympus photographer. It has a full range of raw controls and is one of the best options to familiarize yourself with the enhanced raw format. I also prefer the AI noise filter of Workspace (WS) when possible. Please take note that while Workspace will show no clipping, other raw converters seem overly eager to highlight "overexposed" areas.
Study my articles on exposure and the photons-to-electrons graph and how we apply this knowledge to control the sensor's saturation and signal-to-noise ratio (SNR). The photons-to-electrons graph also has more info about the sensor's noise floor and how we plan/control noise and dynamic range.
In the past, I stated that this know-how is enough to significantly improvement your digital results. I often reflect on that assertion and wonder if I may have been overly optimistic. As I experimented with high dynamic range scenes for this article, I was reminded of how quickly these new sensor and tonal considerations became an instinctive part of determining my final exposure mix.
I'd like to offer some general tips to enhance your digital photography experience. One key piece of advice is to steer away from forums and camera reviews, as they tend to become echo chambers that primarily advocate for cameras with larger sensors. This emphasis on the sensor can create the perception that the image sensor is solely responsible for the digital image creation process.
I plan the processing of my raw files while setting my camera's exposure mix. This includes tweaking my exposure with the exposure compensation slider in the camera and Workspace. This is followed by tonal and color tweaks, including image contrast and sharpness with the tone curve function. The primary goal of tonal adjustments is to highlight the natural lighting variations in the scene.
I converted this EM5 II raw file in PhotoLab 7.
Many photographers underestimate the depth of field advantage of M43 cameras. Selecting the right aperture/focusing ratio is often enough to gain two or more stops with the final exposure mix. This gain simply relates to more control over dynamic range, noise, and the recorded tonal data.
Here are the general steps I follow to set and finalize my exposure mix:
I mainly use Aperture or Shutter Mode with a fixed ISO.
Learn how to leverage the DOF benefit of M43 cameras.
Use IBIS to benefit your shutter/aperture exposure mix.
This does not mean not selecting the right shutter speed.
Select the right focus point to extend the in-focus area.
Practice how to gain 1 to 2 stops without upping the ISO.
Study this article for more about the Gradation function.
My final camera exposure settings are 98% optimized.
This includes specific gradation options for the camera.
That means I do only small exposure corrections in WS.
With practice this quickly becomes a natural process...
One image was taken with the Stylus 1s and the other with the EM10 IV. I converted the enhanced raw files in Workspace.
Exposure settings and tonal adjustments are two different things. The Gradation function does have a link to the camera's exposure controller, which lets us use the gradation function to alter the camera's gamma curve and to control clipping. Tonal adjustments like shadows, midtones, highlights, and the tone curve function in Workspace let us paint with light or tweak the scene's natural lighting.
Those relying on the sensor need tonal adjustments to "recover" clipped highlights and shadows, whereas those with knowledge about digital cameras apply framing, all four exposure variables, and tonal adjustments. For instance, how do we enhance low-light or shadow information?
How does one know if tonal adjustments change my exposure or tonal values? For instance, why does the Gradation function only change the tonal curve when applied in Workspace?
A final image from the Olympus EM5 II with the M.Zuiko 25mm f1.8 lens. I converted the enhanced raw file in Workspace.
The average dynamic range and noise differences between digital cameras are one to two stops. As one gains experience, it becomes evident that the ongoing sensor debate overshadows the crucial roles of the camera, the lens, the sensor, the image processor (firmware), and the photographer in establishing and leveraging the exposure and tonal mix to maximize the recorded image data.
In conclusion, you may be surprised to learn that awareness and experience are enough to make this knowledge work for you. Take, for instance, fixing the ISO to track what's happening at the sensor.In daylight photography, the Auto ISO value usually remains at its minimum setting (referred to as “fixed” auto). This simply means one will manage shadows and low-light situations differently. Why do we see more noise in shadow areas? Study the photons-to-electrons graph for answers.
See this link for more about noise and dynamic range variances between cameras.
As the years pass by like chapters in one's book of life, I find myself reflecting more on the paths I chose in life. In my youth, I consciously opted to turn away from the idea of a rainbow nation. Twice the Lord granted me the incredible opportunity to work overseas. Consequently, my children spent a significant portion of their formative years in the majestic landscapes of Switzerland. Now, as my wife and I approach the twilight of our lives, we look forward to drawing nearer to our children, who have embraced their new Swiss identities, becoming more Swiss than South African.
Taken with my 8MP Konica Minolta Dimage A2. A lovely scene at the Kruger National Park in South Africa.
As I paged through my image collection, the warm melodies of CDs I'd crafted from my cherished LPs filled the air. The music, rich with that classic vinyl essence, resonated beautifully through my Ken Ishiwata Marantz CD player. I couldn’t help but wonder how much joy these timeless LPs would bring me today. What a stark contrast to the moment I decided to part with my entire vinyl collection. Little did I know just how dearly I would come to miss those beloved melodies.
As I flipped through my images, a wave of emotion washed over me, harmonizing with the gentle tunes emanating from my "vinyl" collection. Each image has its own story, transforming moments into memories. This journey of revisiting our photo collection felt like a unique moment with each photo, whether it was taken with my Pentax SLR or one of my digital cameras. What a captivating journey that intertwined my past and present, with a delightful symphony of sight and sound, until...
I took these with my Pentax SLR. A modified Thorens on the left and my own design and built on the right.
My wife and I shared a passion for photography, resulting in a vast trove of film negatives and prints. About 8 years ago, I purchased a scanner to breathe new life into our analog collection. The journey of scanning and editing our negatives unfolded in a way that was worlds apart from the familiar territory of digital photo editing. To my surprise, my knowledge and experience with Olympus , along with my expertise in using Workspace, greatly improved my analog image processing.
I took this image with my Pentax SLR and edited the scanned negative in Photoshop.
I took this picture with my Canon 350D. My wife and I grew up in the outskirts of the lovely city of Pretoria.
My wife and I are devoted Christians. We married 40 years ago in Pretoria and raised two children.
I took this image with my Pentax SLR. Durban was always a popular and safe holiday destination.
Shortly prior to leaving South Africa for the first time.
I took this image with my Canon 350D. In 2000, we made the decision to return to South Africa.
I took this image with my Pentax SLR and edited the scanned negative in Photoshop.
I took this image with my Konica Minolta A2. We were happy seeing our relatives again. This is the Hartbeedpoortdam area.
I took this image with my Canon 350D in the Hartbeespoortdam area.
I took this image with my Canon 350D in the Hartbeespoortdam area.
I took these images with my trusty Pentax SLR. These were son and dad boat projects.
My wife took this image with her analog Olympus Mju.
I took this image with my Pentax SLR. My father and mother with 3 children (families) and 5 grandchildren.
Out of a family of thirteen, four members will remain in South Africa. Through hard work, we have excellent educational backgrounds, talent, and experience, all motivated by a commitment to invest in our country and contribute to the development and the well-being of all its citizens. However, we have been confronted with the difficult choice of embracing a new culture in pursuit of a safe future for our children. Despite the challenges, our love for Africa and its people never changed.
Lüderitzbucht, Namibia. I cannot help to think we have such awesome digital cameras today...
I took this image with my Pentax SLR. My grandparents immigrated from Germany to South West Africa (Namibia today).
It’s hard to imagine a South African family that hasn’t lost loved ones to violence or faced the trauma of horrific incidents like sexual abuse, carjackings, or home invasions. As the country marks 31 years since apartheid, it finds itself on the brink of an economic collapse while being hampered by 145 discriminatory laws preventing minorities from partaking in the country's job market. The grim reality of violent farm attacks continues to linger in the shadows, often downplayed and misreported as mere theft, yet the pain and suffering of farmers resonate tragically throughout our farmlands.
One left South Africa, and the other family became another statistic of "theft."
We never intended to leave South Africa for a second time, but life took an unexpected turn when I received an offer from Switzerland. One evening, as I was reflecting on our future, an unimaginable tragedy unfolded nearby. Three girls were left in the care of their grandmother when their parents returned from work. Tragically, with the parents being tied down in the garage, the grandmother was powerless to intervene while the three innocent girls suffered a horrific ordeal inside the home. It was in that moment, as I looked into the eyes of a girl who had endured such tragic suffering, that I realized it was time to seek a new beginning for my family. The journey away was not one of choice but rather a response to the painful injustices that plagued our beloved country for 31 years.
In the heart of the Oval Office, a spark of hope flickered to life as the President of the United States greeted the President of South Africa and his entourage. However, that glimmer quickly faded as the world’s media unleashed a troubling spectacle casting doubt on the foundations of an independent media. Our prayers are with fellow South Africans during this tumultuous time, as many struggle to comprehend the far-reaching consequences of this most recent journalistic catastrophe.
Our son and his family live in Switzerland, while our daughter returned to South Africa. Like many South Africans, she and her husband pursued opportunities abroad, leveraging their qualifications to build a new life in Australia. South Africa had a recorded population of 17M in 1981, and by 1994, a remarkable 95M participated in the country's inaugural free and fair elections.
Julius Malema chanting, kill the boer, kill the farmer. Source video (Newsline SA)
In a realm where tales of anguish fade into silence, the true extent of the oppression directed at cultural minorities remains elusive. South Africans navigate through unthinkable suffering, a reality marked by relentless brutality and violence, compounded by the disintegration of families. All of this unfolds beneath the watchful eye of an independent global media. Yet, in our current climate of doubt and skepticism, one might be tempted to downplay these horrors as mere petty theft or dismiss them as just another conspiracy woven into the fabric of religious and family values.
South African and other African Game Reserves are popular wildlife photography destinations. My wife and I love watching and photographing wild animals and birds in their natural habitat. We visited South Africa in July 2024, and being South Africans, we couldn't wait to return to the Bushveld.
The Dinokeng Game Reserve is associated with birdlife, the Big 5, and the bushveld. The bushveld region is known for its mild winter seasons, pastel colors, types of trees, and mixed grass fields. One quickly spends hours photographing trees, grass fields, and landscapes in the bushveld. For example, the red grass in some of my images is unique for the bushveld, and the many anthills are underground and external housing structures for working ant communities. The external part protects them against snow or heat, and the inside structure and channels are housing and cooling infrastructures...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/500 - This was not in Dinokeng.
This article discusses our recent visit to South Africa and the camera equipment we used. I will focus on the three camera bodies and lenses we used in South Africa. The article is written for casual or hobby photographers who prefer general advice on camera equipment and wildlife photography.
Many hobby photographers ask which camera is best for wildlife photography. Most assume that would be expensive "Pro" equipment. The best camera is the one you have on you. For example, the EM10 III and the 14-150 plus 75-300mm lenses require little backpacking space and are perfect for hobby and general wildlife photography. What are the benefits of having expensive Pro equipment?
We stopped 1 to 2 car lengths away from these Cheetahs, and our only camera was an iPhone 14. AI deleted the sitting Cheetah's right leg...
The above image is an example. Our cameras were in the trunk while driving to the Game Lodge. Our safest option was to stay in the car when we spotted the Cheetahs. While I am thankful we have this photo, it illustrates why I don't use my Mobile Phone for photography. DxOMark-News did a consumer study showing how biased AI algorithms are responsible for disproportionate images and the inaccurate colors associated with mobile phones and web-based AI image generators. For example, it was impossible to "rescue" the above photo in Photoshop. See the more natural-looking Cheetah photos from my Olympus E-M1 III with the Zuiko 12-200mm f3.5-6.3 lens a little further down.
See this video showing how to create an AI image in Photoshop.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f9, 1/320 - Enhanced Raw converted in WS.
Expect to see an increase in secondhand camera pricing when manufacturers decide to add AI to the camera's image processor. Why would this happen, and what makes the existing image processors so unique? The global push for AI normalization became part of a strategy to promote mobile phones on photography forums. Promoters will upload close-ups of models or basic product photos to present mobile phones as "compact cameras" with advanced HDR and AI image processing capabilities...
Why is the 12MP Olympus Stylus 1s optically superior? Because they produce natural-looking images with the TruePic VI image processor, IBIS, 12MP 1/1/7" BSI sensor, and the Zuiko 28-300m f2.8 lens. In contrast, mobile phones are handicapped with a limited zoom range or subjects further away than 3m. This makes the Stylus 1s an informed or logical choice for nature and wildlife photography...
My wife creates ART with the AI services Bing, Copilot, and Midjourney. One of the current weaknesses is disproportionate image creation (processing) when adding arms, legs, or fingers. One should also distinguish between AI and computational features like Pro-Capture, Live Composite, Focus Stacking, and High-Resolution mode. The functionality of modern Olympus cameras improved with the addition of computational features. Should we expect the same improvements from AI?
Study the above cheetah image on a large 27" display. AI deleted the sitting cheetah's right leg...
My wife used Bing to create this image...
Forum promoters push the idea that Olympus had quality inconsistencies with Standard and Premium Zuiko lenses. They hardly ever provide comparisons, data, or M43 lenses matched to applications or specific camera bodies? For example, I prefer the 12-45mm f4 Pro in poor weather conditions, even though I see no real IQ differences between the 12-50mm and the 12-45mm f4 lenses. The EM-10 IV and E-M1 III lens combinations showed their individual strengths in diverse applications. It's a good idea to match your individual requirements to the right camera and lens combinations.
Dust was a challenge in the Dinokeng Game Park. My camera and lens combo were always covered with a thin layer of dust. The Olympus Supersonic Wave Filter (SSWF) plus the dust protection in the 14-150mm f3.5.5.6 II and 12-200mm f3.5-6.3 lenses help us to stay focussed on photography...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/320 - Enhanced Raw converted in WS.
The Olympus 12-200mm lens has proven to be surprisingly capable. It's more cost-effective and weighs less than the 40-150mm f2.8 Pro lens with the 1.4X converter. The EM1 III plus 12-200mm is another compact option with good handling and IQ which is perfect for game drives and general trips.
Lenses like the Standard M.Zuiko 12 - 200mm, 70 - 300mm. 14 - 150mm are perfect handheld lenses whereas the 40 - 150mm f2.8 and 300mm f4 Pro lenses are perfect for tripod applications. Both these Standard and Pro Zuiko zoom lenses are great M43 lenses for the wildlife photographer.
E-M10 IV and 45-175mm - ISO800, f5.6, 1/3000 - 2X digital converter (350mm reach @ f5.6).
The Zuiko 24-400mm FF equivalent lens is a perfect general and weather-sealed option. The digital converter has an almost 400mm to 800mm (FF) reach. It's critical to regularly practice with the Zuiko 12-200mm f3.5-6.3 lens because it's designed to deliver excellent wildlife and holiday results.
The above image was taken in Switzerland. Did I correctly use ISO800? This is an interesting question because I basically amplified the image 3 times with the ISO, WS (EC slider), and the digital converter. Knowing this, how would you manage this high level of image signal amplification? Would having more light on the sensor and a lower ISO be an option when using the 2X digital converter? I won't take any special precautions because the 2X digital converter delivers full-resolution images.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS. (Magaliesberge)
The main challenge with Standard and Premium lenses is slow apertures or lens speeds. For example, I won't use my 12-200mm lens on early morning safaris. The Olympus Zuiko 40-150mm f2.8 Pro lens is perfect for early morning applications or low-light conditions in the Dinokeng Game Reserve.
Which of the EM1 III or EM10 IV is better for sunrise safaris? We need higher shutter speeds for landscape, bird, and wildlife photography. That means high ISOs or fast lenses in low-light situations. The AI noise filter of Workspace lets us use higher ISOs and shutter speeds with the EM1 III.
Another consideration is the different types of game drives. For example, a photography experience is vastly different from a tourist experience. A good example is a specific wildlife safari that focuses on photography and the photographer. It's also possible to have personalized hiking tours with professional rangers from Dinokeng. Small groups of hikers are accompanied by Dinokeng rangers.
Olympus EM10 IV with Lumix G Vario 45-170mm f4.0-5.6 PZ lens - ISO1600, f6.3, 1/2000 - Raw file converted in WS.
Some Tips when Planning Your Wildlife Photography.
The most empowering decision any photographer could make is to reject any undisclosed social media promotion. In fact, most forum discussions and YouTube product presentations should be considered another repetition or undisclosed promotion. The second thing is to accept that Olympus M43 lenses were carefully designed and ready to produce acceptable to excellent image quality.
See my DXOMark article for more about acceptable and good image quality.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f5.9, 1/650 - Enhanced Raw converted in WS.
The Olympus E-M10 IV with the 14-42mm EZ lens and the 45-175mm Lumix lens is a capable and tiny combo with a reach of 350mm (FF). The Lumix 45-175mm lens is fast, which enables us to use higher shutter speeds at lower ISOs. The Olympus 12-200mm is slower and needs good daylight.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/640 - Enhanced Raw converted in WS.
The Olympus E-M1 III, EM10 III, and IV are capable cameras. They produce clean JPEGS up to ISO1600 in the camera or when converting ISO1600 Enhanced Raw Files in Workspace. The main advantages of the Olympus E-M1 III are Pro features like Pro Capture, Autofocusing, and the AI noise filter above ISO800. See my articles on exposure techniques for good results above ISO1600...
Olympus E-M1 III with the 12-200mm lens. ISO200, f9.0, 1/500. Converted and in WS. I didn't try the 2X digital converter.
For example, there are almost no IQ differences between the EM1 III and E-M10 IV. The difference is features, knowing your camera, and experience. I was photographing mountainous scenes when we spotted 5 vultures. My lack of BIF experience with my E-M1 III showed as I struggled to capture them. Quickly changing one's camera settings and the E-M1 III's Pro features give better photos. A critical aspect of bird and wildlife photography is the ability to capture that special moment...
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f7.1, 1/640 - Enhanced Raw converted in WS.
Another critical aspect of wildlife photography is zoom reach and knowing how to apply EV Stops. For example, one gains 1EV when swapping the Olympus 12-200mm with the Lumix 45-175mm lens. This explains one of the main benefits of the Olympus 40-150mm f2.8 Pro lens with the 1.4X or 2X converter. How does this 80-300mm f5.6 Pro combo compare to the Zuiko 70-300mm lens?
For example, the Olympus 40-150mm f2.8 Pro lens with the 1.4X converter is 1.3EV quicker at 200mm than the 12-200mm f3.5-6.3 Premium lens. That means we can more than double the amount of light on the sensor. This is ideal for low-light applications like sunrise wildlife opportunities.
My wife's E-M10 III with 14-150mm f3.5-5.6 II - ISO200, f4.5, 1/400 - The Nyalas were in the camping area.
The Olympus 40-150mm f2.8 Pro and 2X converter is a small Pro option with an equivalent FF range of 80-600mm f5.6. Is this why forum advisors (promoters) say M43 photographers should not use the Olympus 2X converter?It's like saying the best M43 traveling lens is the Olympus 12-100 F4 Pro. Why do they all promote this BIG lens? Why not the 12-45mm plus 40-150mm f4 Pro lenses?
Source: www.ricardo.ch
Why would someone say the Olympus 12-100mm f4 Pro lens is a good traveling lens?
Olympus E-M1 III with 12-40mm f2.8 Pro lens and tripod - ISO800 - Enhanced Raw converted in WS with the AI Noise Filter on Low.
The South African bushveld is green in summer and dry in winter. The winter season is good for finding and spotting wild animals. My posted images are typical of the South African winter season. My brother and I made a day trip to the Dinokeng Game Reserve, and my wife and I spent two nights in the Ouklip Game Lodge (the same game reserve) close to Pretoria.
This website has more info about the animals and birds of South Africa.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
What about my camera equipment?
Our visit to South Africa was packed with diverse photo opportunities like Glamping, game drives, bird and wildlife photography, several day trips, plus quality time with family and friends. I took the following Olympus and Panasonic M43 equipment to South Africa:
Olympus E-M1 III and E-M10 IV camera bodies
Olympus 40 - 150mm F2.8 Pro lens
Olympus 1.4X and 2X converters
Olympus 12-200mm F3.5-6.3 lens
Olympus 12-40mm F2.8 Pro lens
Olympus 14-42mm f4.5-5.6 EZ lens
Olympus 75mm f1.8 Zuiko Lens
Olympus 9-18mm f4.0 Zuiko lens
Lumix Vario PZ 45-175 f4-f5.6 lens
Leica (Lumix) 25mm f1.4 lens
Manfrotto carbon Tripod
Lowepro "CompuDaypack"
Lowepro Shoulder bag
Accessories like a flash and Polarizer filter...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
What changes will I make for my next trip? Will I replace my M43 equipment? Size and weight are critical considerations when I replace a camera or LENS. Based on weight and usage, I am considering the following changes for my next wildlife photography or tourist experience:
Olympus E-M1 III and E-M10 IV camera bodies
Olympus 12-200mm F3.5-6.3 lens
Olympus 12-45mm F4 Pro lens
Olympus 14-42mm f4.5-5.6 EZ lens
Olympus 9-18mm f4.0 Zuiko lens
Lumix Vario PZ 45-175 f4-f5.6 lens
Leica (Lumix) 25mm f1.4 lens
Olympus 17mm f1.8 Zuiko lens
Manfrotto carbon Tripod
Lowepro "CompuDaypack"
Smaller Olympus Shoulder bag
Accessories like a FL-300 flash, bean bag, and Polarizer...
This lightweight package includes my camera gear, accessories, MacBook, cables, and traveling documents.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS. (Cheetah)
The Olympus EM10 IV with its built-in flash and the Zuiko 14-42mm kit lens at a family event. An Exp. Comp. of -0.7EV.
Conclusion.
Our time in South Africa was spent on family and friends, various day trips, and tourist activities. The Olympus 12-200mm lens has proven to be very capable. The E-M10 IV with the 14-42mm EZ and 45-175mm Lumix combo are small and capable, while the Olympus E-M1 III with the 12-200mm and 12-40mm Pro lens combo are ideal for bird and wildlife photography. Interestingly, I never felt the 40-150mm f2.8 Pro and 1.4X (2X) combo would make a significant enough difference...
I never needed to push (saturate) the sensor or increase my tonal data. I used Aperture Mode and occasionally Exposure Compensation. I converted all my Enhanced Raw Files in Workspace and slightly edited them in Photoshop. Workspace has repeatedly proven to be a good Raw Converter...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
It felt good to see the relevance and affordability of used equipment. My E-M1 III and the E-M10 IV with the 14-42mm EZ and 40 -150 f2.8 Pro lenses are less expensive than a new OM-System OM-1 II. Folks, the older Olympus E-M1 III with its new Truepic IX image processor is a masterpiece...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
It's difficult to experience all the animal or bird species or explore each corner of Dinokeng in three days. For example, Hyenas sleep during the day and are active from approximately 18H00. Photographing most of the animal and bird species can take days. The ideal alternative is something like the Kruger National Park or monthly excursions to game reserves like Dinokeng.
See this article about wildlife photography with M43 cameras.
Olympus EM10 IV with the Lumix FZ 45-175mm lens. The image was taken during a casual 9 holes...
It takes patience, self-control, and practice to enjoy balanced photography sessions versus enjoying the bushveld and wildlife in Dinokeng. For example, it takes a few hours to wind down and enjoy an African game reserve and wildlife scenery. Our selection of camera gear supported this state of mind as we planned our visit to South Africa and Dinokeng as tourists and not Pro photographers...
See this documentary about relocating lions to Dinokeng. Link
Siegfried
My wife's Olympus E-M10 III with 14-150mm f3.5-5.6 lens - ISO200, f5.6, 1/800 - Jpeg out of the camera.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f5.6, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/500 - Enhanced Raw converted and Adjust Color function in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/250 - Enhanced Raw converted in WS.
I experimented with Pro Capture and the E-M1 III and edited these Enhanced Raw Files in Workspace.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/80 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO400, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-f6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS. It's rare to see a Rhino sleep like this.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f5.6, 1/1600 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/500 - Enhanced Raw converted in WS. (Vleiloerie)
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO500, f6.3, 1/500 - Enhanced Raw converted in WS.
Center image. Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f5.6, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO2000, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO400, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO320, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/630 - Enhanced Raw converted in WS.
E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS. The red grass is unique to the bushveld.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/320 - Enhanced Raw converted in WS.
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