3 Steps to create the camera's JPEG in Workspace

Last Updated:- 26th September 2024

Introduction.

Why discuss marketing programs like astroturfing and undisclosed promotions on a photography blog? I expected to see an end to counter-marketing when Olympus sold the Imaging Business, but DPR forum participants simply continued expressing their concerns. I saw an example while following M43 forum discussions. An OM-1 photographer wanted to know why his converted Workspace Raw files differed from the camera's JPEG. Hoping to see good advice, I wondered if many of the forum statements and concerns were justified or simply part of another counter-marketing campaign?

Another forum participant reported inaccurate colors from his OM-1 and OM Workspace. I converted one of my own OM-1 Raw files into a camera JPEG version. I rented an Olympus OM-1 shortly after it was launched in 2022 to create a video about the new BSI sensor. The converted raw file looked different from the camera's JPEG version. I never had this from any of my Olympus cameras. 

This screenshot is the camera's JPEG (left) and the converted Enhanced Raw File (right).

The Olympus OM-1 photographer mentioned in the introduction received the following advice. Does forum advice benefit those software companies with the best promoter deals? Considering the lack of knowledge resulting from the "size and capture" theory, don't you think those photographers who question the behavior of social media influencers should benefit from advanced training? Why did Fuji or Olympus (OM-System) never decide to offer more advanced training to clients?

The above comparison is a screenshot of my converted Workspace RAW file and the EM1 III JPEG. One can easily see the exported JPEG from Workspace is identical to the camera's JPEG. List the 3 things you would do to recreate the camera's JPEG in Workspace. Why do we need more steps to copy the Workspace conversion with Lightroom, Photoshop, DxO PhotoLab, or any other converter?

In another DPReview discussion, I received a 3rd opportunity to compare an OM-1 converted Raw file to the camera's JPEG. The exported Workspace colors were the same as the camera's JPEG. This OM-1 had V1.6 firmware installed. Did OM System correct the V1.2 color variations in later versions?

Basic information unique to Olympus M43 cameras and Workspace

Olympus photographers have the option to adjust (tweak) the camera's tonal response curve in the Camera or Workspace. That's why we say Olympus photographers adjust the camera's tonal curve, not only the highlights or shadows. It's critical to study and master this concept of tweaking the camera's tonal response curve. Can we tweak the camera's tonal response curve in Adobe Lightroom?

Study the illustration below and the two videos in this article.

One of the key features of Workspace is the ability to adjust your camera's settings. Photographers need the following skills for good image quality with Workspace and Olympus cameras. They are advanced exposure techniques and credible information about digital cameras and Workspace.

3 Steps to recreate the camera's JPEG image in Workspace

Step 1. Always use the same Color Space for the camera, computer, and Workspace. Your default color space should be RGB for these components. Why RGB or RGB1998 for a Mac PC? We use the RGB color space to convert/edit our images, SRGB for the web, and CMYK for printing. I use 16-bit (RGB) Tiff files for Photoshop because they have excellent information with RAW-like flexibility.

Step 2. The camera's image settings and White Balance reading are part of the Enhanced Raw File. That means the camera's settings plus White Balance data are available in Workskspace when we open the Raw. Study my articles on Workspace and the Enhanced Raw Format for more information.

Olympus was among the first to specialize in taking accurate white-balance readings. They understood the importance of using an accurate white balance. It takes experience and a good understanding of light and the direction of light to improve the camera's WB measurement of complex scenes...

Step 3. At this point, it's possible to recreate an accurate replica of the camera's JPEG in Workspace. This means we can create a synchronized JPEG in Workspace because we use the same color space as the camera and a copy of the camera's JPEG settings in Workspace. You shouldn't adjust your camera settings in Workspace if you plan to export a replica of your camera's JPEG file...

An example of opening an Olympus Pen E-P7 raw file in Workspace. The Enhanced Raw File inserted the data/adjustments on the right.

The RGB Color Space uses a larger color gamut with more color information. This benefits our raw conversion color data plus the process of reviewing and adjusting our camera settings in Workspace. The question is, are we editing or optimizing our camera settings with Workspace? We can ask this question because we are reviewing and tweaking our camera settings in Workspace.

Can we transfer our camera settings to Lightroom, Photoshop, or DxO Photolab? These raw conversion and editing software packages were not designed (structured) for Olympus cameras. It's better to use an Olympus JPEG or 16-bit (Workspace) Tiff file if you prefer accurate Olympus colors...

Step 4. In this step, we evaluate our image and tweak our camera settings. In previous articles, I said we only see the Live View effect of our camera settings when we activate the RAW file in Workspace. This was inaccurate because these settings are active when we open the Enhanced Raw File in WS. The latest version (V2.3.2) of Workspace is quick and capable of producing excellent results...

See this article about Workspace.

E-M1 III with 75-300mm f4.8-6.7 II lens - ISO200, f5.6, 1/200 - I converted the Enhanced Raw File in Workspace and edited it in Photoshop.

Conclusion

Did the new M43 photographer adjust the brightness of his RAW file, or does the OM-1 have different colors? You can study the OM-1 photographer's photos here. The converted JPEG would change if one edited the RAW file. What would happen if he simply exported the JPEG version after opening the RAW file in Workspace? Good forum advice would be to check the OM-1 's FW version, use an RGB color profile for your equipment, and not adjust the RAW file if you want the camera's JPEG.

What would your opinion of Workspace be if you followed the advice of social media influencers?

It took practice to improve my results with Workspace. Those who learn about digital cameras, image sensors, advanced exposure techniques, and Workspace will always enjoy Olympus cameras. I stopped converting my RAW files in Lightroom, Photoshop, or Photolab. Folks, these basics are not difficult to master. The secret is to step away from counter-marketers and undisclosed promoters...

Am I a new forum member at DPReview? I have been critical of the info shared on DPReview and wanted to make a positive and accurate contribution after commenting on a post about Workspace. Will I survive this brief excursion to DPReview? It's been 3 weeks, and I decided not to invest much time in this forum. The MyOlympusOMD blog is simply too different. I prefer encouraging new and existing M43 photographers with good examples and information. M43 photography is fun..!

See this discussion with good information as well as many repetitions (promotions).

See this M43 photographer's feedback after purchasing a used Olympus EM-5 II.

Siegfried

Advanced Exposure Techniques and Workspace

Last updated:- 17th March 2024

Introduction

I lost my left arm in a motorcar accident and have been on pain medication ever since. It's difficult to say which is worse, losing my left arm or the opioid-based pain medication. My wife and I worked hard to reduce my pain medication, and we reached the point of cutting it completely. Those who followed my blog know how it benefitted me personally and my ability to write better articles.

I bought my first digital camera in 1998, which also started my craving for that perfect digital camera promoted by camera reviewers and social media experts. Breaking free from commercially biased theories, repetition, and the collective social media influence is similar to walking away from addictive medication. I can write a book about these processes and the similarities...

Olympus EM5 II with 25mm f1.4 Leica - ISO800, f3.2, 1/25 - Enhanced Raw File converted in WS. I used my ISO to control the highlights.

I use a simple strategy or rule when studying technical info. I reject any "interesting" information that does not improve my photography. My understanding and articles about digital cameras focus on information that improves the average photographer's image quality. My regular readers appreciate the benefits of marketing free camera knowledge. This is an ongoing learning experience...

The technical aspects of cameras interest me the most. My wife and I enjoy taking photos and using them in different projects. We love photography and regard ourselves as hobby photographers.

Fuji FinePix A201 (2MP) compact camera. ISO100, f4.5, 1/45 seconds. Slightly edited in Photoshop.

My focus in 2024 and onward...

The challenge of learning and growing the MyOlympuOMD blog impacted my recovery positively. I will continue to develop the blog and plan to focus on used Olympus cameras while we are waiting for a real OM-System camera. This includes exploring unique cameras like the Fuji XT-5, the Sony ZV-E1, the Panasonic GM-1, and the EP-7. I also plan to create more YouTube videos in 2024. 

My focus will be the following subjects for this blog and YouTube:

• Videography with basic principles, casual videos, and documentaries
• Digital camera knowledge and techniques improving our photography
• OM Workspace, the Enhanced Raw Format, and general photo editing
• I am planning to write informative articles on older Olympus cameras

My first two videos for 2024

I uploaded 2 YouTube videos over the past 8 days. They give an overview of my articles on exposure and Workspace and will benefit those who prefer watching a video. I will create shorter videos in the future that will focus on specifics. I am working on my sound quality and will have a solution for my next video. Please subscribe to my YouTube channel and post your thoughts in the comments.

Color and FX-Blue Chrome effect for Olympus

Last Updated:- 3rd February 2024

Introduction

The illustration below is a screen copy of my Workspace "before/after" display. Study the links below for a description of the Fuji Color and FX-Blue Chrome effects. I combined these descriptions into one beta Chrome Effect for Olympus. The Fuji Color Chrome effects work for all Fuji "Picture Modes," whereas the Olympus Color Adjust function only works in the "Natural" Picture Mode. The final Fuji Chrome Series for Olympus cameras could be 3 chrome profiles. (Color, blue, and combined)

This short article discusses two processes for developing a new profile. Why are the Olympus EP-7 and Pen-F so different? All digital cameras work with global adjustments like saturation, color filters, and White Balance. They require a good understanding of working with Opposite Colors. For example, the Olympus Color Creator and White Balance functions use analogous and/or opposite colors. Only the Color Adjust Tool of Workspace, Pen-F, and EP-7 target specific colors in the image.

Fujifilm Color-Chrome Effect - link

Fujifilm FX-Blue Chrome Effect - link

Olympus Pen F with beta Chrome profile.

Fuji Color and FX-Blue Chrome Effect - Version 1

The unique aspect of this Chrome effect is the steps I used to create the profile. The profile is my reaction to the two articles discussing the Fuji Color and FX-Blue Chrome effects. This can happen to anyone seeing or learning something new and like to express that experience in a color profile.

Download this 1st beta "Color and FX-Blue Chrome.oes" profile. Use the Batch tool in Workspace to open and save the profile on your PC. See my Workspace How-to page for more...

Fuji Color and FX-Blue Chrome Profile.

The Fuji Color plus FX-Blue Chrome Profile is designed for the Pen-F, EP-7, and compatible OMDs. For example, I successfully tried the profile on Raw files from my EM10 II and the original EM-1. Only the Pen F and EP-7 have the Color Adjust function and will accept Color Profiles. The alternative is to apply these profiles via the Enhanced Raw Format to compatible Pen and OMD cameras.

Study the above profile data (summary) and the steps below to tweak the profile:

1. Use the "Auto" option for your WB, or select a unique WB. (Critical step) 
2. Use Exposure compensation and the histogram to set the ISO brightness.
3. Use the different Tone Adjustments to tweak the camera's Gamma Curve.
4. Some Olympus cameras, like the EM10 II, do not have a Midtones Slider.
5. Use Exposure Compensation for those cameras lacking a Midtones Slider.
6. The Auto or Normal Gradation option varies your final Tone Curve shape.

Olympus EM1 II with 18mm f1.8 lens - ISO200, f7.1, 1/800. The Enhanced Raw File was converted with the Fuji Chrome Profile.

The Tonal Adjustments in the Camera and Workspace are Gradation, Shadows/Midtones/Highlights, and the Workspace Tone Curve option. Why do we need ISO brightness (EC) and separate Tonal Data Adjustments? Workspace and the camera's Gamma Curve convert the sensor's linear raw data to a human (JPEG) format. Tonal adjustments let us tweak the Gamma Curve in the camera and Workspace. Exposure Compensation (ISO) is part of the camera's Exposure Formula.

Study this article for more on exposure compensation, image brightness, and ISO.

Olympus E-P7 with 17mm f1.8 lens - ISO100, f8.0, 1/200. The enhanced Raw File was converted with the Fuji Chrome Profile.

Use the Color Adjust tool of Workspace to tweak the Chrome effect. I studied the above information from Fuji and converted +/-50 Enhanced Raw Files to create this Beta profile. What is the next step? The next version of the Fuji Color Chrome effect will be based on Color Cards and Test Images from my Fuji XT-5 and the Olympus Pen-F. Mail me your feedback or input for the 2nd version.

An example of using multiple steps. 1. Tweak the Natural Picture Mode. 2. Tweak the Color Style. 3. Image jpeg adjustments.

One could also use multiple steps to create a unique image look. This is a more advanced option because the different steps happen simultaneously. We can add another level with the Luminance and Hue options of the Color Adjust tool. The Pen F and EP-7 do not have these options. The first step is global adjustments (opposite colors), and the second is specific colors. (Adjust Color Function)

For example:

1. Tweak the Picture Mode via Color Filters and the White Balance.
2. Tweak the colors in the Color Style with the Adjust Color function.
3. Jpeg adjustments like Contrast, Saturation, Clarity, Dehaze, and Sharpness. 

Olympus Pen-F with the 9-18mm f4-5.6 lens - ISO200, f4.5, 1/1250 - Version 2 of the Color Chrome effect.

Fuji Color and FX-Blue Chrome Effect - Version 2

I used a "controlled" studio, standard camera settings, and Color Cards. Both cameras were in Manual Mode, with the XT-5 at ISO125 and the Pen F at ISO200. That meant I needed to correct the ISO brightness of the XT-5's raw sample in Fuji's X Raw Studio. I exported the different raw images as 16-bit Tiffs. That meant the color samples were ready for Workspace and the Adjust Color tool.

I used these 16-bit samples in the "Compare Multiple Images" display of Workspace. This enabled me to copy the XT-5 "chrome effect" and transfer it to the Pen F color card. The illustration below shows the original and the new Adjust Color Style for my Fuji Color and FX-Blue Chrome effect. 

You are welcome to download the new version here. - link

What is the main difference between these profiles? The Color Cards allowed me to create a more accurate version of the Fuji Color and FX-Blue Chrome effect. Only the Adjust Color tool has the new Color Style values. None of the other functions were used to create the new Color Style. This allowed me to use default values for the remaining Camera and Workspace settings. Verify that only the Adjust Color tool was adjusted before you continue to edit the profile in Workspace.

The previous version of the Fuji Chrome Profile was created from the information I found. The profile consisted of a combination of the Adjust Color function and other image settings. As can be seen, this method is not necessarily incorrect. It's simply a creative reaction to general information. The second method is more reliable because I used a different Color Card for each camera.

The new Fuji Color and FX-Blue Chrome effect has a specific Color Style. We only need the color style to apply the new profile. Any other image tweaks, like Tonal Adjustments, are unique to the scene. This makes the new profile very unique. It lets users develop a basic step-by-step process for using the profile and editing images with the new Fuji Color and FX-Blue Chrome effect.

Olympus OM10 II with 17mm f1.8 lens - ISO200, f3.2, 1/2500. Workspace with Version 2 of the Fuji Chrome effect.

More info on the Fuji V2 Chrome Effect? The final profile is not only more accurate, but it is also more user-friendly. How could that be? Workspace has become my default raw converter and editor in the past two years. Workspace and Photoshop cover +95% of my editing needs. I export my converted 16-bit Tiff files to Photoshop. Like everything, the more we use it, the more we learn.

The new profile highlights one of the main differences between Olympus and other brands. Almost all brands use global adjustments, whereas Workspace, the Pen-f, and the E-P7 allow us to adjust global and targetted colors. Targeted colors are unique for Workspace, Pen-F, and the EP-7. What makes it different is that the camera's Adjust Color Style is part of the Enhanced Raw Format.

Olympus Pen-F with 17mm f1.8 and the new Fuji Color Chrome effect.

It's critical to master the main difference between targeted and global settings. The Color Creator is an example of using Global Settings. The Color Creator, White Balance, and Color Filters change the selected and opposite colors. Color profiles created with Global Adjustments need additional steps, like tweaking the Image jpeg Settings. Targeted color profiles are only done in the Adjust Color tool. The resulting configuration defines the new Color Style. That means more freedom to edit and tweak the remaining image (scene) settings because the Color Style stays fixed.

How to use the new Fuji Color Chrome Profile? The first step is studying the above chart. The next step is downloading the new profile. Save it in your Workspace profile folder.

Do the following steps to open and edit your Fuji Color Chrome effect in Workspace:

• Open any Pen-F or EM1 Raw file and select the "Load Batch Processing file" option.
• View the camera settings in Workspace. You will see only the Adjust Color was used.
• The Adjust Color settings show the Color Style. That means you have the right profile.
• Study the above chart for tips to tweak and edit your image. Apply small adjustments.
• You can apply the following editing steps in Workspace:-
• Focus on the critical Raw settings like (ISO) Exposure Compensation and WB.
• The next step is to tweak the Gamma Curve with different Tonal Adjustments.
• The final step is typical Jpeg Image Adjustments and the Noise Filter selection.
• Adjust the Fuji Color Chrome effect (Weak/Strong) with the Adjust Color function.

Olympus Pen-F with 9-18mm F4 lens - ISO200, f4, 1/1000. The Pen-F with the Fuji Color and FX-Blue Chrome effect.

Everyone should try the color samples below to create a Fuji Color Chrome effect. For example, I only used saturation with the Adjust Color function. You could add Hue and Luminance adjustments for a more accurate profile. I used saturation adjustments in Workspace because I wanted the new Fuji Color Chrome Profile ready for my Olympus Pen-F and the EP-7.

Conclusion

The next step is taking a few images with my Fuji XT-5 and Olympus Pen-F. This is the best way to test the new Fuji Color and FX-Blue Chrome effect for Olympus. The challenge is the winter season, with poor conditions and cold photo walks. That means my final testing will wait a while...

Best Regards

Siegfried

Olympus EP-7 with 17mm f2.8 lens - ISO200, f5, 1/200. The EP-7 image with the Fuji Color and FX-Blue Chrome effect.

Use these Color Samples and Workspace to create your Chrome Profile.

The 4 things that will improve your Image Quality

Last update:- 23rd July 2024

Introduction.

Several social media presenters started 2024 listing new photography essentials. While having good intentions, it's always sad to see popular influencers making information mistakes.

This inspired me to discuss a new ISO technique plus the following Essentials:

1. "Focus" on the subject, and don't let the background or DR distract you.
2. Exposure Triangle - Replace "ISO Sensitivity" with "Image Brightness."
3. Ignore all "size and capture" theorists explaining image sensors/cameras.
4. Knowledge and experience are critical aspects of digital photography.

EM1 III w Lumix 35-100mm f2.8 - ISO200 (400), f8, 1/640. ISO400 plus ETTR (+1EV) gave me a +/-2EV brightness variation. See the article.

Imagine you are photographing blue hour or nighttime scenes, and it was possible to lower your image brightness just enough to reveal more detail in highlight areas like street lights, lamps, shop windows, and restaurants without affecting your image quality. How did I capture the images below? I used a new technique that controls the sensor separately from the ISO. That means I independently manage my sensor's performance (saturation level) from the ISO (image brightness).

Figure 1.

1. Focus on the subject, and don't let the background distract you

I am a keen follower of the Danish photographer Thorsten Overgaard. I like his work, enthusiasm for Leica cameras, and passion for photography. Thorsten introduced 4 new Essentials to improve your photography in 2024. Many presenters and photographers think the digital camera's ISO function is similar to film cameras. See Thorsten's video for more about focussing on the subject...

Your digital camera's ISO function does not change the sensor's sensitivity!

2. Remove ISO Sensitivity from the Exposure Triangle

The best way to think of the ISO function is to view it as an in-camera brightness slider. The image sensor and ISO amplifier are separate components. The sensor's sensitivity is measured and set at the factory. This is a once-off and permanent adjustment that prepares the image sensor for use with digital cameras. The ISO function simply amplifies the image signal from the sensor or pixel...

See this article for more information.

Why should the "Digital Exposure Triangle" be different? Because it should reflect what's happening inside the camera. This knowledge helps us to manage the sensor's performance separately from the ISO (image brightness). The full-frame "size and capture" theory plus "ISO sensitivity" limits us from focussing on the sensor's performance. For example, the "size and capture" theory and a lower DR at higher ISOs are incorrectly used to discourage photographers from using ETTR. 

This article reviews the benefits of knowing it's possible to separately manage the sensor's saturation from the ISO. This knowledge makes a huge difference in how we apply our digital cameras...

See this video discussing more advanced exposure techniques...

EM5 II & 7-14mm f2.8 lens - ISO800, f2.8, 1/250. The Advanced Raw File was converted in WS. The new ISO technique will benefit this photo...

The information below applies to all digital cameras:

1. The Shutter and Aperture are responsible for exposing the sensor.
2. The ISO function only amplifies the image signal from the sensor.
3. Keep in mind the ISO is part of the camera's exposure calculation.

An example of incorrect information...

Source: dpreview.com - Olympus Camedia C-50 review (pre "size and capture" days)

Consider this when you use the Digital Exposure Triangle:

• Reflected light (Shutter Speed and Aperture) controls the sensor's saturation level.
• More reflected light saturates the sensor. This improves the SNR, which decreases noise.
• Less reflected light decreases Saturation/SNR. A smaller SNR means more visible noise.
• Study the Photons to Electrons conversion graph in one of my previous articles - link.

EM1 MKI & 12mm f2 lens - ISO1250, f2.0, 1/25. The Enhanced Raw File converted in WS. These scenes benefitted from the new ISO technique.

3. Avoid any "size and capture" theorists explaining digital cameras

Please study the 2 images in Figure 1. The image on the left is a JPEG from my EM5 II, and the one on the right is a converted raw file. These images are an expression of understanding the digital camera and Workspace. They were not created with AI, computational photography, a LUT, or advanced image editing. Photographers in Group A will typically say the EM5 II's dynamic range is too small, and those in Group B will seek new information to improve their knowledge and technique?

What did we learn from "size and capture" promoters? They sell the "fact" that digital photography is better with bigger sensors. Some of the deliverables are dynamic range, background blur, image quality, image noise, and details. These "size and capture" theorists never differentiate between the photographer's experience or the camera's optical and technical characteristics...

Olympus EM5 II & 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/500. The new ISO technique lets us control any highlights in the above scene.

4. Knowledge and experience are critical aspects of digital photography

Study this article discussing the benefits of having knowledge...

What information is necessary to discuss the photos in Figure 1? Image quality is proportional to the sensor's saturation and image brightness is adjusted with the ISO, Gamma Curve, and Exposure Compensation in the Camera and WS. The EM5 II is known for its good IQ and the sensor's small noise floor. The DxOMark Low-Light ISO rating defines acceptable and good image quality.

It's critical to take a new look at digital cameras. A saturated sensor enables us to manage our image brightness in the camera (ISO) and/or Workspace (EC). We can adjust the camera's Tone Curve with the Gradation function, Highlights/Midtones/Shadows sliders, and/or the Tone Curve in Workspace. Why do we need a new ISO Technique? Because the new technique is based on the design principles of digital cameras and not random "size and capture" marketing theories. For example, a saturated sensor means a higher Dynamic Range (better image quality) and SNR (less visible noise)...

How do we apply the new ISO technique?

1. This technique benefits from the Enhanced Raw Format and Workspace.
2. The Enhanced Raw Format is the link between the ISO and Workspace.
3. Evaluate the quality of the reflected light and set the ISO to 400 or 800.
4. Use the histogram to expose the sensor (Aperture & shutter speed).
5. The histogram follows the sensor's saturation level with a fixed ISO.
6. Lower the ISO" in 1/3EV intervals to manage" any clipping highlights.
7. Finalize your image brightness in WS (EC) and export a 16-bit Tiff file.
8. The final step is to tweak the exported 16-bit Tiff file in Photoshop.

EC = Exposure Compensation.

Olympus E620 w 12-60mm f2.8 Lens - ISO100, f8.0, 1Sec. 3 AE bracketed raw files were converted and edited (HDR) in Photoshop.

Is there another way of creating Photo B? Yes, I used the above method to illustrate the relationship between the camera's sensor and ISO function. Some will say the EM5 II is ISO Invariant. Folks, the "size and capture" and "ISO Invariance" theories are marketing programs. Those pushing them cannot explain why we have image noise, a noise floor, and why all sensors are not "ISO Invariant."

It's possible to manage the sensor's performance when we know that clipping highlights are not always linked to a smaller dynamic range. For example, the sensor might be perfectly exposed (saturated), while the ISO setting (image brightness) is responsible for clipping the highlights...

The following steps explain how I created Image B:

1. I used Image A to create a ref auto exposure of ISO200, f4.0, 1/25 for the EM5 II.
2. The DxOMark "Low Light" Sports rating showed I could vary the ISO with 2-stops.
3. That means I could adjust the "highlights" when I start with ISO800, f4, and 1/100.
4. I used ISO200, f4, and 1/80th in M-Mode. (No clipping & sensor @ 20% ETTR).
5. I corrected the image brightness (Image B) in WS with Exposure Comp & Tonal adj.

Olympus E410 w 14-42mm lens - ISO400, f13, 13 Sec. The highlights and general IQ of the E-410 will benefit from this ISO technique.

It takes time to visualize and create new techniques. It improves our ability to problem-solve Olympus Cameras and Workspace. For example, the concept that ALL sensors have a noise floor underlines this new ISO technique. It's possible to control clipping highlights with an optimally exposed sensor. The Enhanced Raw Format enables us to finalize our ISO value in the camera and/or WS.

Here is another method to create Photo B (Fig. 1). Olympus cameras automatically vary the sensor's saturation level with AE Bracketing. That means the camera doesn't change the ISO in AE bracketing mode. Use ISO800 and the "2f 1.0EV" bracketing option to take 2 photos. Manually take another image at ISO200 (-2EV) and the 20% ETTR aperture and shutter values. Do the final image brightness and Gamma Curve adjustments in Workspace and export the image in a 16-bit Tiff format.

Olympus EM5 II w 7-14mm f2.8 lens - ISO64, f7.1, 1/125. ISO64 helped me to up the SNR and saturate the sensor.

Conclusion

Most digital cameras from 2012 onwards have acceptable to good IQ. Modern marketing and collective dynamics continue to push for more image quality. Be aware of the dumbing-down effect of everyday marketing and reject any "bigger is better" theories. Study and master your digital camera.

This article shows the value of knowing your digital camera. It enabled me to increase the sensor's SNR and control the clipping highlights. The new ISO technique relies on the DxOMark "Acceptable Image Quality" rating. This gave me the comfort of having a minimum Color Depth of 18, a Dynamic Range of 9EV, and an SNR of 30db, with no ETTR, at ISO800. This new ISO technique is more exciting with the Olympus EM1 III because the new Workspace AI noise filter works from IS800.

Why shouldn't one "Expose for Highlights?" This "technique" illustrates why social media experts are terrible advisors! What happens when we apply a negative exposure compensation in any of the AE Modes? For example, many photographers like to use Aperture Mode and Auto-ISO. This means they can't determine if the sensor is saturated. It's like photographing with a broken lens...

A final example of timing, compositions, and complex exposures.

Alex Nail is a great landscape photographer. He took a group of photographers into the Drakensberg mountains. The vegetation in this mountainous region brought back memories of South Africa. Image quality is not only a function of your camera because all digital cameras have unique strengths and weaknesses. One of the joys of photography is managing the camera's limitations...

Top Intel iMacs for Photographers...

Last updated:- 15th September 2023

The kind of iMac and processing power you need are regulated by the software applications plus AI features you have. See this article and my Workspace Update Page (firmware) discussing why I upgraded my iMac. Being in the market for a new PC, I quickly realized I needed more time to find the right photography solution. It's impossible to configure a good photography solution with the technical and advertising information from Apple. I used this website as a technical reference. 

Apple upgraded their iMacs in 2014, 2015, 2017, 2019 and onwards. After much research, I decided to look for an Intel 4-Core i7 (4.2GHz), 5K display 27", 64GB (2666MHz DDR4) RAM, AMD Radeon Pro 580 Graphics (8GB), an SSD hard drive, and similar ports as my old iMac. I learned how secondhand iMacs are the best way to find a photography configuration for under $900.

Higher rating i5 or i7 Processors with 4GB and higher graphic cards are enough for most photography applications. It was expensive to increase the RAM memory when these iMacs were new. For example, users could add more RAM memory on pre-2017 models after receiving the iMac. These RAM modules are now available at a fraction of the original Apple pricing.

Used iMacs are great business opportunities for those trading in secondhand computers, and patience is the best advice for those purchasing a used iMac. The safest option is to work with official Apple dealers or target the owners directly. Apple has excellent info on its support site. For example, what should one verify when buying a used iMac? I created a list of questions I asked before making an offer. This made it possible to cancel if I found any issues while collecting a used iMac.

What about 4K video editing and converting large numbers of RAW files? Each photographer needs to be specific on what they need. For example, you don't need 4K editing if you are new to video. As high as 95% of homemade videos are perfectly good at 1080P. My "new" iMac edits and renders 4K videos. Processing 4K videos versus 1080p means significant performance increases. 4K videos also use 4 times the pixels as 1080p recordings, and most viewers won't spot the difference...

Buying a secondhand iMac was a process of making compromises. For example, the 2020 Intel i9 Pro iMac is great if you are ready for the expense, whereas the costs decrease on older iMacs, while the risk of a burned-in display increases. These older Intel iMacs are excellent PCs and perfect for those on a budget. The key is preparation and patience when buying or collecting a used iMac.

Any of the above examples are excellent photography solutions, and the i5 iMacs with 4GB graphic cards are great photography alternatives. For example, the 2015/17 (i5/i7) iMacs with 4GB or 8GB graphic cards became my Performance/Cost favorites. Study the i5 details right above the i7 line on this website. This site has more technical information to help you specify your used iMac.

Conclusion

Why not a 24" iMac with an M1 or M2 Apple Processor? I bought the 2017 Intel iMac (above spec), which consistently outperforms my Macbook Pro M1 with 16GB RAM. I photograph almost every day in the summer, and I have been editing my Enhanced Raw Files on my Intel iMac and Macbook M1 Pro. Interestingly, the older i7 Processor outperforms the M1 Processor with Workspace, Photoshop CC, iMovie, Final Cut Pro, PhotoLab 6, and the different office applications I have...

The 27" display is also fantastic for video or photo editing. I often process the same images on my iMac and Macbook Pro. The MacBook Pro cannot compete with the larger display of the iMac. My wife tried my 27" iMac 2013 but preferred her 2012 Mac Mini with the 24" Apple Cinema Display. The final PC configuration you select should work for YOU...

What about Workspace? I am satisfied because the "new" iMac made a huge difference. Workspace, Photoshop, and Photolab are quick, and I experienced no negatives. My only concern is the high level of access some applications request during the installation. Fortunately, it's possible to manage the level of access these software applications receive. It pays to carefully configure your iMac...

Don't let promoters confuse you to spend way too much...

Best

Siegfried

How to use the Olympus Gradation Function?

 Last Update:- 27th November 2024

1. Introduction

The Olympus composite, stacking, and computational features are highly regarded by those using them. Unfortunately, many Olympus photographers will not experience the benefits of computational photography or the extended benefits of High-Resolution Imaging and the Gradation function. It's surprising to see such a high level of counter-marketing programs and filters in 2024.

It only takes a little to understand why the previous Olympus Engineering Team became a clear industry leader. For example, the original Olympus EM-5 from 2012 offered a 5-axis IBIS solution for both stills and video. Canon and Nikon were designing and selling DSLR cameras like the 60D, 5D3, D800, and D5200 when Olympus introduced its first OM-D E-M5 with new Creative Color options.

Olympus EP-7 with the 45mm f1.8 lens, Gradation = "Auto." These Enhanced Raw Files were converted and edited in Workspace.

We reviewed the importance of saturating the sensor or increasing the SNR. For example, how do we add more reflected light onto the image sensor? Should one increase the ISO, use a flash, or use the Aperture/Shutter? We discussed ISO amplification and the role of the Aperture and Shutter. We will apply this know-how while learning more about Olympus cameras and the Gradation function.

TIP: View the images on a large screen and study the descriptions...

EM1 III with the 12 - 45mm f4.0 Pro lens - ISO200, f5.6, 1/1.16Sec, +0.7EV - The focus stacked OOC image was edited in Workspace.

My wife bought the flowers, and I created a small studio with my Olympus EM1 III, tripod, diffuser, and Rotolight Neo 2. Did you know the Gradation function varies your camera's exposure settings? For example, try the 4 Gradation options and see how they change your Auto Exposure settings. 

A focus-stacked ISO3200 example. I used 4 (bracketed) Enhanced Raw Files and applied the AI noise filter before stacking them in Workspace.

We will discuss the following:

1. Introduction
2. Why is the Gradation High option interesting for ETTR?
3. The three reasons why photographers use ETTR in 2023
4. Practical discussion on using ETTR with Olympus cameras
5. A brief overview of noise and the Olympus Noise Filter...
6. Conclusion (See my thoughts about the EM1 III and XT-5)

The Pen F and 17mm f1.8 lens (Edited version). I selected Gradation High in my Pen F and Normal to "color grade" the Enhanced Raw File.

2. Why is the Gradation HIGH option interesting for ETTR?

The Gradation function has four unique tone curves (Normal, Auto, Low, and High). The EM1 III user manual shows that these Gradation options make tiny adjustments to the camera's tones. See the EM1 III user manual (any Olympus M43 manual) for a description of each Gradation option.

I have been using the Gradation function more frequently in the past year. For example, we can use the Auto option while editing an image (raw + jpeg) with Olympus cameras or Workspace. I also use the Highlights, Midtones, and Shadow sliders to fine-tune the camera's Tone Curve. It's also possible to simulate these "camera" settings in Workspace. In a previous article, I said the graduation function should be great for ETTR. This article explores the Gradation "High" option for ETTR.

I often experience the WOW factor as I learn more about the Olympus computational functions. One can compare the Gradation "High" option with a V-Log profile and the "Normal" option to the Counter profile. I tested the "High" option with my EM1 III and applied the Counter profile with the Enhanced Raw File and Workspace. That means it's possible to apply ETTR without much effort.

Why do I adjust my final image brightness with the mid-tone slider? Because it does not change the Neutral Gray setting. Neutral Gray (18%) means the camera's colors are accurate. The exposure compensation slider adjusts the camera's Neutral Gray values. (Ref. the Zone System) That's why we treat our exposure and mid-tone settings separately in the camera or Workspace. Does this also apply to ETTR? Yes, we typically correct our ETTR settings with the exposure compensation slider.

Did Olympus change or improve the Gradation function (Tone Curves) over the past 10 years? They said they did with the EM-5 launch documents. I didn't verify this for more recent cameras...

The unedited OOC jpeg of the above image with the Gradation option set to High. I used the Gradation function for ETTR.

3. The three reasons for using ETTR in 2023

Here are the 3 main reasons for using ETTR:-

1. Cameras do not saturate the sensor in Auto Exposure mode
1. The reason is a built-in DR safety margin for Auto users...
2. These safety margins impact your shadow details & noise
3. ETTR enables photographers to saturate the image sensor
4. How did I learn this? Knowledge and an unfiltered mindset
2. ETTR helps us to improve the sensor's Signal to Noise ratio (SNR)
1. The visibility of the sensor's noise floor increases at lower SNRs
2. Upping the SNR means the sensor's noise floor becomes less visible
3. ETTR is especially effective for the shadow areas of an image
3. ETTR improves our tonal data in the shadow areas of the image
1. Sensors are linear devices with less tonal data in the shadows
2. ETTR shifts the tone curves to the right to record more data

See this article about exposure, gamma curves, and tonal data...

4. Practical discussion about ETTR and Olympus

The Gradation function is one of the several computational functions from Olympus and a powerful option for ETTR. The HIGH option automatically saturates the sensor without clipping the highlights (EM5 Press Release). That means Workspace, the Enhanced Raw Format, and the Gradation High option help us to increase our SNR, saturate the sensor, and shift the camera's histogram to the right. We reset (counter) the HIGH option with the NORMAL Gradation option in Workspace. 

The converted 16-bit Tiff file from Workspace will have a higher SNR, more tonal data, a regular image look, and more flexibility when editing the converted 16-bit Tiff file in Photoshop.

Here are a few practical Tips:

• Our goal is more light on the sensor (camera settings, time of day, and flash)
• It's critical to be clear about the ISO's role versus the Aperture/Shutter Speed.
• Use a fixed ISO value to prevent the camera from amplifying the image signal
• Never disregard the importance of using a flash to add more light to the sensor
• It's a good idea to use the camera's White Balance. (Not critical for ETTR)
• It helps to create a flat profile with Highlights/Shadows for Gradation High...
• Experiment with your Histogram Settings and use the Histogram with ETTR.

Olympus Pen F with 45mm f1.8 lens. ISO1600, f7.1, 1/8 Sec. Converted and "color graded" in Workspace, no noise reduction.

Experiment with the Gradation High and Highlight/Shadows functions to create your unique "ETTR" camera profiles. A flat Tone Curve means negative Highlight values and positive Shadow values. (Try Highlights -3 and Shadows +4). Always use the same principle of having a Tone Curve in the camera and a "Color Profile" for Workspace and the Enhanced Raw File. "Color grading" Olympus Tone Curves do not mean opposite values like one typically applies with V-Log Profiles. It simply means returning the camera's settings to their default state. The Enhanced Raw File lets us reset our image to Neutral Gray in Workspace. It takes practice because it's not always necessary to "reset" our camera settings in WS. The best option is to master these basics and to experiment with Workspace. 

Raw Converters use a fixed Gamma curve (profile) to adjust the sensor's linear data. The older Olympus editor Viewer 3, had a basic Gamma option to vary the profile's shadows, midrange, and highlights. Consider the Gradation and Highlights/Shadow settings as the camera's "Post-Gamma" or Tone Curve options. It's also possible to Correct or use them as Pre-Gamma adjustments.

The Gradation and highlight/shadow options let us use flat tone curves or correct the image look. Always ask yourself, how can I get more light on my sensor, and what should my final image (jpeg) look like? This is why we use the aperture/shutter or exposure compensation to control our exposure (reflected light) and tonal adjustments to adjust the image's final look in the camera or Workspace. The Enhanced Raw Format allows us to access most of our camera (image) settings in Workspace.

The Olympus FL300R needs almost no space.

Does the Counter Profile affect any of the ETTR benefits? No, the recording happens in the camera, and any ETTR benefits become part of the final image "DNA". Workspace does not add or remove light from the sensor. This is why it's possible to simulate the ETTR technique in Workspace. 

A "Counter Profile" means we reset our camera settings in Workspace. That means we will change the camera settings, Shadows +5 and Highlight -5 (flat tone curve), to zeros in Workspace. Experiment by applying "ETTR" with the camera and Counter the Tone Curve in Workspace. Take the time to practice using your camera's Exposure Meter and the feedback from the Histogram. It's not necessary to use a counter profile. Develop your own preferences and editing style for Workspace.

Did the noise disappear in the above illustration? No, the size of the sensor's noise floor is the same. We only improved the SNR, which means the noise floor is less visible. Is it correct when reviewers say smaller sensors have more noise? Absolutely not... ALL sensors have a noise floor...

The Olympus XZ-2 is a great compact camera. I prefer to get my info from manufacturers and don't trust camera reviewers or photography forum experts. My research and knowledge of digital cameras are also a great help. Discovering the XZ-2 and the satisfaction of using great oldies like the XZ-1 and the XZ-2 is exhilarating. The XZ-2 has a 12MP BSI sensor, and the XZ-1 has a 10 MP CCD sensor.

Olympus Stylus XZ-2 - ISO100, f4.0, 1/500. The Gradation Auto option of the camera, and color-graded in Workspace.

The EP-3 is another excellent camera and oldie. I took my EP-3 with the 12-50mm lens for our late afternoon walk with the dog. The XZ-2 and the EP-3 are compatible with the VF-4 Electronic View Finder. The Olympus XZ-2 was set to Auto Gradation for the above image.

I typically apply 2-steps to convert and edit my Enhanced Raw Files. I select and edit my camera settings in Workspace for step 1, and the focus is specific or advanced image editing in step 2. Advanced editing can be done in Workspace or something like Photoshop. For example, I used the Gradation Auto option, Highlights/Shadows, and Tone Curves to edit the image below. We only need Step 1 or the converted 16-bit Tiff file to post-process the image in Photoshop.

The EP-3 and the 12-50mm lens - ISO3200, f5.2, 1/80 - I converted the Enhanced Raw File with WS (Noise Filter = Low) and tweaked it in Photoshop.

The EP3 raw file was converted with PhotoLab 5, and I used DeepPrime (AI Noise Filter). The final image was edited with Photoshop.

5. A brief overview of image noise and the Olympus Noise Filter

Photographers should experiment more with the Olympus Noise Filter. The main reason newer camera models have less noise is the smaller noise floor of modern sensors, more sensitive sensors, and more processing power like the Pen EP-3 versus the EM1 III. DxO PhotoLab became my benchmark for rating the Noise Filter of Olympus cameras and Workspace. The PhotoLab "Prime" option is enough for my general photography needs with my PEN, OMD, and XZ-2. I only use DeepPrime in extreme cases. One can cancel the Olympus Noise Filter in favor of the PhotoLab noise filter...

Olympus cameras and Workspace have excellent Noise Filters. The Workspace AI noise filter is enough for most situations with the EM1 II/III or the OM-1. The default Olympus Noise Filter setting is "Normal." I prefer the "Low" option for my Olympus cameras. One can always use the Enhanced Raw Format to change to the Standard or High options in Workspace. I rarely use the additional two sliders in the Workspace. Study this article for more on image noise and image sensors.

I used the Gradation "Auto" and Noise Filter "Low" options for the image below. I was surprised by the excellent DR and IQ of my Pen EP-3 and the XZ-2. The Pen EP-3 is a surprisingly good camera when all the marketing filters are removed. For example, always study the Official News Releases of Olympus if you like to learn more about Olympus cameras. See the Stylus XZ-2 News Release.

The reason for less shadow noise (image below) must be the small noise floor of the XZ-2, plus the SNR was high at ISO100. Shadow Noise, or the visibility of the noise floor, increases at ISO800. The size of the sensor is irrelevant when I use my camera. I am only thinking of the available light at the sensor, any Tone Curves settings I prefer, and optimizing the SNR of my image signal...

Olympus XZ-2 - ISO100, f4.0, 1/400 - ND filter ON.

6. Conclusion

Marketers mislead photographers with statements like "Workspace is just another raw converter." Why shouldn't we compare Workspace, Lightroom, ON1, and Capture One to Workspace? Because these Raw Converters cannot simulate your Olympus camera settings. It's not the first time Marketers used false information to distract photographers. Micro Four Third cameras were some of the most filtered products in 2023. How many photographers are familiar with the Color and Creative Strategy from Olympus and how they showed this strategy in the E30, EM5 MKII, and Pen F?

Folks, we don't need ETTR to get good results with M43 cameras. Knowledge gives us an overview of photography. Knowledge empowers photographers to improve their image quality, and knowledge is a light placing a different perspective on the misleading filters of global marketers.

I am working on an article about the EM1 III and the Fuji XT-5. Should one compare only IQ, or should one do more? For example, while focus-stacking with my EM1 III, I tried computational ETTR techniques including processing an 80MP High-resolution image in the camera. 

Considering the unique level of computational flexibility of the Olympus EM1 III, Workspace, and the Enhanced Raw Format, how does one plan a balanced and factual comparison between the EM1 III and something like the Fuji XT-5? Both these cameras are good while radically different...

For more on Creative Color and Computational Photography, see this article.

Take care and God's Bless

Best

Siegfried

A few casual images while walking the dog...

The images below are from my Pen EP-3 and the 75mm f1.8. I didn't do anything special with my camera settings. The images benefited from converting the Enhanced Raw Files in Workspace. I used the adjustments below on my raw files before exporting them as 16-bit Tiff files to Photoshop.

Older 12MP sensors have more noise (larger noise floor) than newer M43 sensors. Skies were known for more visible noise from these older cameras. The Noise Filter "Low" option was enough to clean the skies without losing details. It helps to manage older sensors with the SNR-to-ISO ratio.

These are my final post-processing steps in Photoshop:-

• I cropped the image for Instagram (4:5 ratio)
• I added a little contrast with Curves in Photoshop
• I sharpened with the High Pass Filter (setting = 1.6)
• Using a "Soft Light" blending mode on a duplicated layer

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/800.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/200.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/800.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/1000.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/500.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/160.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/640.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/160.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f14, 1/80.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/400 (Action shot).