ETTR summary plus a real example

Last Update:- 24th May 2024.

Much has been written and said about ETTR. Enough for most photographers to see the value in having this technique. Unfortunately, this is not the case because YouTube and forum experts continue to make wild claims about sensor size. This resulted in a powerful exposure technique being lost in a cloud of "size and capture" confusion. This article gives a brief overview of marketing.

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

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

What is ETTR or Exposing to the Right?

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

What is the role of the ISO function?

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

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

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

What are the benefits of ETTR?

The many senseless "discussions" about photons, bigger pixels, and sensor size mean nothing if it doesn't improve your existing camera. The only variable we manage is sensor saturation. The average consumer camera records more tonal data (image quality) with a saturated sensor. Digital cameras typically double the tonal data for every 1EV of ETTR. That means the histogram moves to the right, the sensor's Saturation and SNR improve, and the camera processes more tonal data.

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

How does one apply ETTR?

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

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

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

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

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

General comments

Photographers are told that ETTR only works at the camera's base ISO. I disagree because digital cameras are designed to capture more tonal data with the histogram to the right, irrespective of the ISO value. Social media "experts" argue the dynamic range is too little at higher ISOs. The dynamic range does reduce at higher ISOs. Does this mean we shouldn't use ETTR, or should we simply manage the situation? A workable solution is to ignore these paid experts (promoters) and improve your know-how while having more experience from photographing regularly...

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

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

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

Do this quick ETTR experiment:-

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

Conclusion

The camera's histogram tells us when the image sensor is desaturated at base ISO or when the camera uses its DR safety area. This "safety headroom" is one of the main reasons for M43 cameras having visible shadow noise. Knowledge and experience taught me it's safe to overexpose Olympus cameras with up to 1EV (ETTR) and correct it in Workspace. The secret is a fixed ISO and watching the histogram for highlight clipping while applying ETTR (adjusting the aperture/shutter).

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

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

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

Photoshop, PhotoLab, Luminar & WorkSpace

Last Update: 28th Nov 2020

Most photographers are familiar with Photoshop, PhotoLab 3, Luminar 4, and WorkSpace. Others use image editors like Lightroom, ON1, Capture One, or Topaz. In 2005, when I bought my first digital camera, I learned all about image editing with Photoshop Elements 2 and Paint Shop Pro.

With this article, we will take a quick look at Photoshop CC, PhotoLab 3, WorkSpace, and Luminar 4. We discuss some of the strengths and weaknesses of these editors and how they complement each other when used together in post-processing.

Olympus XZ-1 - edited with PhotoLab 3 and Luminar 4 (Sky was replaced with Luminar)

When evaluating different cameras, it is always important to rate them on how edit-friendly each camera's images are. You probably think, why do that? Some brands are just more flexible during post-processing. For example, Panasonic is known for its sharp images. That said, older Panasonics had color issues like skin tones, greens, and blue skies. It was difficult to correct these faulty colors. More recent models like the GH4, GH5, and the G9 improved significantly.

In terms of color and editing, my favorite brands were Olympus and Canon. The editing flexibility of these brands is excellent. When Olympus launched the EM5 MKI, it felt like the dynamic range was infinite, especially when compared to the older EP3 or the Canon 700D, which I also used at the time.

Paging through my EM5 image collection and studying them, I was glad that I always used the JPEG + RAW option. If you ever considered using raw files, my advice is to start as soon as you can. The reason simply is, that raw editors continue to improve every year...

Olympus EM5 w 12mm f2 Jpeg file,  ISO200, f5.6, 1/1000 (No editing - as-is from the camera)

The above image is not really great but interesting in terms of post-processing. The reason is the sky was not clear and the position of the sun was not good. My camera's default profile settings were set to neutral. The best would have been to take the image in the early morning or late afternoon. The reason for selecting this image was, that I wanted to push it a little and study how it reacts with the different image editors. See the descriptions below each image for more information on how I edited them.

The raw file - edited with WorkSpace

Raw file - edited with DXO PhotoLab 3

Raw file - edited with Photoshop CC

Raw file - edited with Luminar 4

The above images were all taken in Lucerne, Switzerland. As you have seen in the descriptions I edited the same raw file with different image editors. If you spend enough time editing the different images, it is possible to get them to look the same. The approach will be different for each editor, but with a little patience, you will see the results you looking for.

Having said that, working with the different image editors, you also learn the strengths and weaknesses of each of these image/raw editors. If you prefer more creative freedom I think Luminar is currently the most exciting option. On the other hand, PhotoLab 3 is very true and capable, especially when combined with DXO filters like FilmPack 5 or the Nik Pro collection.

Raw file - edited with PS then opened in Luminar as a filter - EM5 w 12mm f2.0 - ISO200, F6.7, 1/1000

That said, you should not underestimate Photoshop. It does everything these different editors specialize in. The main plus something like PhotoLab 3 or Luminar 4 offer, is the low cost, ease of use, and the fun factor. I also like how DXO does its lab tests, to measure camera and lens data. They then use this data to improve the results from PhotoLab and Filmpack. This is especially interesting for Olympus.

Olympus XZ-1, ISO100, f2.8, 1/800 (jpeg)

The above image was taken in 2012 when my wife and I visited Paris. You will see this is again not a great image because I made all the mistakes one should avoid making. For example, I pointed the camera to the sky, and the camera then focussed (exposed) on the clouds. The street level was underexposed with more shadow noise. The little Olympus XZ-1 is way more capable when exposed correctly. 

You will see from the other examples, and how I applied different editing styles. Some I edited like I did with the above examples and the final image, I opened the raw file in PhotoLab and then transferred the result to Photoshop. From Photoshop I used Luminar as a filter to replace the sky. This enabled me to apply and combine the unique strengths of each editor in one editing session.

Olympus XZ-1 - raw file edited in PhotoLab 3

Below you see the different image editors I used and the order in which I spent time with each:-

1. Photoshop CC (My main creative and complete image editor plus raw converter)
2. DxO PhotoLab 3 (Probably the best raw editor, especially for Olympus)
3. Olympus WorkSpace (Excellent raw and basic jpeg editor, free for Olympus owners)
4. Luminar 4 (The AI functions are truly amazing plus layers make it a more complete editor)

I also use Aurora and DxO FilmPack 5. Years back I started with Adobe Photoshop Elements and through the years I kept an updated copy of Elements. If Adobe added curves to Elements, I would cancel my subscription and only use Elements.

Olympus XZ-1 - raw file edited in WorkSpace

When you click on the above image it will open in the web viewer. Scrolling through the different images you will see the image cropping and keystone results are different for each editor. No real reason other than I should have done a little more effort with each.

My typical raw file editing sequence looks something like this:-

1. In some cases, I open and edit in WorkSpace, then export to PS
2. I edit in DXO PhotoLab 3 and export to PS for difficult scenes with noise 
3. In most cases, I start with the raw file in PS and also complete it in PS

I prefer to have Luminar 4 and FilmPack 5 as Photoshop filters. I seldom work with Luminar 4 in standalone mode. The reason is the included image organizer. This is also the reason I do not use Lightroom... It would be so much better if Luminar and Adobe gave us the option to stop/cancel the organizer. I have a great system that works well for me and never saw the benefits of changing.

XZ-1 - edited in PhotoLab, Photoshop & Luminar 4

Different editing styles will apply to different applications. When editing for prints I am much more conservative and I will focus on colors and details aimed at printing. Editing for the web is different and more fun or experimental.

Taken with the Olympus EM5 with 14-150mm lens - ISO200, f9, 1/400 (Edited and prepared in Photoshop)

Photoshop is by far the best tool to prepare and edit panoramas. The above image consisted of 6 raw files. Photoshop compiled the final panorama in raw and I was able to do my normal raw routine with Photoshop. Interesting about Photoshop is the Content-Aware tool and how it fills in the edges in the final panorama.

The above image was edited in Luminar as a Photoshop filter, changed the sky, and changed various AI settings

The above panorama and the next 3 images were all taken in Miami. Using Luminar, I replaced the sky in the panorama. The sky replacement was not perfect because the replacement sky was sized for a single image and not a 6 part panorama. The raw post-processing with the next 3 images started in PhotoLab 3 and then exported to PS. From PS I used Luminar 4 as a filter to edit my special effects.

Olympus EM5 w 14-50mm, ISO200, f7.2, 1/640 (PhotoLab 3 plus Photoshop plus Luminar - no sky replacement)

Olympus EM5 w 14-150mm, ISO200, f6.3, 1/800 (PhotoLab 3 plus Photoshop plus Luminar - no sky replacement)

Taken with the EM5, raw file edited - I let you guess what was done with this image...

The next two images were taken in Germany in a lovely village close to Frankfurt. You can literally spend weeks in this village and create many masterpieces...

Olympus EM5 with 14mm f2.5 - ISO800, f3.5, 1/60 (Raw edited in PhotoLab 3 and completed in Photoshop)

The same image was edited in Luminar - sky replacement, added glow, and a few other AI adjustments

The next two images were taken in 2007 when I visited Nürnberg. The images were taken with the G7 and the E410. The E410 was in raw format and the G7 was in jpeg format. When comparing these results with those I edited in 2007, the difference is day and night. One can literally spend hours going back a few years and re-process raw files...

Olympus E410 with 14-42mm Kit Lens, ISO100 - Edited with PhotoLab 3 and Photoshop

Canon Powershot G7 - ISO80, f4.0, 1/500 - Edited with PhotoLab 3, Photoshop, and Luminar 4

The time I spent editing the different images in this article was less than 5 minutes each. Normally I spend more time per image. The fun factor of working with these different editors is huge. One of my next projects will be to take more exciting skies for Luminar 4. This is probably the most fun aspect of Luminar 4.

Do you need to have all these different editing tools? Any of the editors discussed in this article is great and more than enough. If I had to recommend an editor or filter option, my choice would be Luminar 4. WorkSpace combined with Luminar 4 is more than enough and really powerful.

Olympus EM5 with 12mm f2.0 - ISO200, f9.5, 1/500 - (Raw file edited in PhotoLab 3)

Edited in PhotoLab 3, then transferred to Photoshop and sky replacement in Luminar 4

When you study the above image you will see I replaced the sky. Can you see the mistake? This is an important question because the final result should always look realistic... See my Instagram account for more examples. (TIP:- look at the sun)

The images below were all taken in different locations like South Africa, Switzerland, and Sardinian. I used different editing combinations with different editors...

Panasonic LX100 - ISO640, f5.6, 1/60 - Raw file edited with PhotoLab 3

Olympus EM5 II with 14-150mm MKII - f5.6, 1/640 - Raw file edited with PhotoLab 3

Olympus EM5 II with 12-50mm - ISO200, f5, 1/200 - Raw edited with Photoshop and refined in Luminar 4

Olympus EM5 II with 17mm f1.8 - ISO200, f4.5, 1/1000 (ETTR +0.7EV) - Raw edited with PS and Luminar 4

Oly E-620 with 18-180mm - ISO100, f11, 1/100 - Raw edited with PS, then edited in Luminar 4 (no sky replacement)

Auto-Focus Techniques and Focussing Points

Last Updated:- 15th December 2021

Introduction

In this short article, we will study the image with different focus points, focal lengths, and apertures. How does the focus point influence the look of the image and what happens if we change the aperture, focus point, or the size of the sensor?

For example, if you are looking for a new lens and the salesman mentions Depth Of Field or Hyperfocal Length, are you OK with these terms? In this short article, we will also look at how to select a new lens and why it's a good idea to select the right lens for your application.

Let's take a quick look at the definition of Depth-Of-Field (DOF) so that we are all on the same page. See the Wikipedia definition below:

For most cameras, depth of field (DOF) is the distance 

between the nearest and the farthest objects that 

are acceptably sharp in an image.

Why would photographers need a background blur or a nice bokeh? Why would they isolate their subjects from the background? What is the so-called cinematic look? How do videographers impact the use of depth of field or what do they want from different focusing techniques?

Photographers progressively neglected the importance of giving marketing feedback over the past 10 years. Computational features became increasingly more appealing to photographers each year, and in the process, photographers also started questioning traditional photography techniques. 

Mirrorless cameras now have built-in lens corrections and mobile phones made it possible for anyone to isolate subjects with a simple App. Do we still need to consider old-school photography techniques or should we only rely on a new application or new digital camera features?

Canon 650D with 15-85mm - f9, 1/125, ISO200 (Used Kodak Porta film simulation with DXO FilmPack 5)

Let's ignore AI for a moment, mobile phones, and things like sensor size, dynamic range, and Auto Focus (Contrast/Phase Detect). Step back 50 years and let's look at photographers from that era. I bet they will challenge us with questions like:-

• What criteria will you use when you select and purchase your next lens?
• Hyperfocal distance, Depth of Field, acceptable sharpness, circles of confusion
• Focus twice the distance to the nearest subject or focus one third into the scene
• Lens design, number of lens elements, lens groups, and how it impacts the lens?
• Testing your lenses, how to determine your lens sweet spot and diffraction point?
• Video recording introduced new rules with new lens variables, or are they new?
• Start using full Manual Exposure or continue using Auto Mode in A or S-Mode.
• Did you ask yourself, why the Olympus wide-angle 12mm lens uses f2?
• What about the backlighting or from the side, how does it impact your image
• How about the right lens, and focal length, and using infinity FL on your lens

Those, not 100% familiar with Depth of Field (DOF), HyperFocal distance, Circles of Confusion, or the infinity method, please have a quick look at the articles below:

Link 1:- A great article about sharpness, lens sweet spot, and the App we will discuss...
Link 2:- A great article about focusing techniques, all you need to know about focus...
Link 3:- A quick and simple technique to determine Hyper Focal Distance... great article
Link 4:- An article discussing how to use Hyperfocal distance for landscape photography
Link 5:- The App (OptimumCS-Pro) we will be discussing in this article... pls study
Link 6:- One final idea and a great practical example using the CS Pro App... a great read

Link 7:- Great presentation on infinity focusing techniques at Photography on Line...

Olympus EM1 with 60mm f2.8 Macro Lens - f7.1, 1/125, ISO100 - (Fuji Velvia film simulation with DXO FilmPack 5)

Here is a short summary of the key points in the above articles:

• Top lens sharpness (sweet spot) is typically +2 stops above the widest aperture
• Lens sharpness is determined by the aperture de-focus blur or its diffraction blur
• A long focal length offers a better illusion compression than a wide-angle lens
• Wide-angle lenses are more effective when used with large depth-of-field applications
• Large sensors need a smaller aperture for the equivalent DOF as smaller sensors

Different focusing features and techniques with MF and AF:

• Use full Auto Mode, AF (SAF or CAF) when doing street or landscape photography
• Selecting the focus point at double the distance from the closest "sharp" subject
• Third focussing rule, for max DOF, select a point one-third into the scene and focus
• Using the camera preview button, available on most OMD cameras - see Link 3
• Manual Focus - various MF assist features like Pre-MF, magnify, and peaking
• Selecting the right lens and infinity focusing technique to ensure an infinite DOF

The OptimumCS-Pro and Simple DoF Applications

A quick look at the OptimumCS-Pro App. I trust you studied the information in the above articles and are familiar with the CS Pro App. Did you install the above Apps on your mobile phone?

When we photograph at a too-wide aperture, we could lose image resolution because of defocusing (the blurring of objects in the front and back of the focus point); and vice versa with a too-narrow aperture, we could lose sharpness due to diffraction. So we always need to think about the optimum aperture setting and focusing distance. The CS-Pro application can help us with that.

How does this app work? The app looks at sensor size, focal length, and distance from the closest point to the furthest point that needs to be in focus. It then calculates the aperture and the focus point at double the distance from the closest focus point.

The Simple DoF App is free and easy to use. It calculates the hyper-focal distance for each lens, focal length, distance, and aperture. For those new to the App, it's important to practice first, before using it on critical projects. Having had the app on my phone for several months, I do use it from time to time but I found it's more valuable for learning purposes than my day-to-day photography.

Let's try the App and see what we learn about the Olympus 17mm f1,8 and the 12mm f2,0 fixed focal length lenses. Which apertures and what focus distance will work best to achieve an acceptable depth of field? I noticed that the lens data you will use with the App is those displayed on the lens and not the full-frame equivalent.

There are basically 4 ways to select a focus point:

1. Using full Auto (A-Mode) and focussing on the far distance using f5,6 to f8.0
2. Use mobile phone apps like simple DOF and CS Pro app, to calculate camera settings
3. Select the closest focus point in the scene and set the focus point at double that distance 
4. Select an appropriate aperture and then use the rule of 3rds to determine the focus point

Pen F w Lumix 14-140mm - ISO200, f5,6 1/200

1. Using full auto A-Mode, AF, and f5,6 to f8

To use this method it is important to have a good understanding of what lens to select for every scene or photo application. The concept is to try and test your lenses. You should know the best aperture (sweet spot) for each of your lenses by experimenting with different apertures for street, landscape, product, and portrait applications. You will find they become second nature if you apply these basics. Let's have a quick look at the following lenses:

1. Olympus 17mm f1,8

For example, we know when doing street photography in crowded areas, the camera will select an AF point reasonably close to the camera. Let's see if that will support a preferred DOF from 1,5m to 30m. Using the Simple DOF and the OptimumCS-Pro applications, we see when selecting an aperture from f6,3 to f7,1 and a focal distance starting from 2,7m to 4m, the DOF will be from 2m to infinity.

Testing the 17mm f1,8 you will find its sharpest aperture is between f4 and f7,1. With a little practice, you will see that you can safely dial in an aperture of f7,1 for both street and landscape photography. For portraits, you will typically work with apertures ranging from f1,8 to f4.

Olympus 17mm f1,8 best DOF settings

2. Olympus 12mm f2,0

Peter Forsgård proposed using a wide-angle lens with apertures f5,6 to f8 for one month. Using the above applications, we see the advantage of WA lenses is the closer in-focus distance to the camera, and the wide-angle lens DOF characteristics tend to benefit a wider range of photography applications.

Studying the above examples we see the 17mm f1,8 hyper-focal distance was 1,4m. The CS-Pro App proposed a focal length of 4m. This is important when you need the foreground sharp. The general habit of focussing on a far distant point is therefore not ideal.

Repeating the above exercise with lenses like the Olympus 12mm, 17mm, and 25mm, you will find they are all great for street or landscape photography. The 45mm, 60mm, and 75mm lenses lean more towards portrait or product photography. Applying the same process you will see the 9-18mm f4 or the 12-50mm kit lenses are great for a wide range of applications.

To set up the camera so you can safely focus at any point, then lift your camera, reframe the image, and take the shot, see this article. Look for - "Customizing the camera AEL and AFL"

2. Hyperfocal Distance Method

(Using only the Simple DOF App)

Looking at a hyperfocal distance I wanted to see the results when using the settings suggested by the App. I also selected to use a fixed MF distance. See the calculated results from the app below. See if you get the same results I did.

Olympus MFT lens 12mm f2,0

- Using f7,1 everything from 1.2m to infinity will be in focus
- Set the camera FL to 2m (MF or SAF)
- Hyperfocal distance is 1.4m

Olympus MFT lens 17mm f1,8

- Using f8 everything from 1.7m to infinity will be in focus
- Set the camera FL to 3m (MF or SAF)
- Hyperfocal distance is 2.4m

Sony A7 III lens 34mm f2,8

- Using f8 everything from 2.5m to infinity will be in focus
- Set the camera FL to 5m (MF or AFS)
- Hyperfocal distance is 4.9m

Pen F w Lumix 14-140mm - ISO200 f5,6 1/400

3. Using the OptimumCS-Pro App

With this example, I again selected MF to test what the results would look like when using the settings suggested by the CS-Pro app. See the results below. Again see if you get the same results I did.

Olympus MFT lens 12mm f2,0

- Using f7,1 everything from 1m to infinity will be in focus
- Set Focal Length to 2m (MF or SAF)

Olympus MFT lens 17mm f1,8

- Using f7,1 everything from 2m to infinity will be in focus
- Set Focal Length to 4m (MF or SAF)

Sony A7 III lens 34mm f2,8

- Using f13 everything from 2.5m to infinity will be in focus
- Set Focal Length to 5m (MF or SAF)

What's really interesting about using this method is finding the right focus point. I ended up using another app on my phone that only measures distance. When the app recommended a focus point of 2 meters, I used the other app to measure that distance so I could mark a focus point. I would then manually focus on that point.

Another interesting thing I noticed was the camera reacts differently in Manual Mode and Auto Exposure. The camera seems to "automatically" optimize the DOF when in Auto Mode. When in Manual Mode this was not the case. This happened with both the A7 III and the EM1 II.

4. Using the thirds and doubling subject distance, focussing methods

Considering what we learned, I see this final method as a practical example as it summarizes what experienced photographers have been doing for years.

Setting up a home studio

Let's look at how to set up a home studio for a new YouTube channel. We will look at the lens and the position of the camera to the target. What focusing method will you use?

We often see camera reviewers walking around in a video to test and demonstrate the camera's CAF abilities. Do we really need this kind of CAF capability when setting up a simple home studio? Let's assume your home study consists of a desk, a chair, and something like a green backdrop. Considering what we discussed, we can now calculate the preferred aperture and focusing distances. This enables us to use older cameras like the Panasonic GH4, and the EM10 II with MF, and save money.

You can select any focal length ranging from 12mm to 25mm. I used the 17mm f1,8 and the Olympus 25mm f1,8 for this example.

• Olympus 17mm f1,8 is camera A
• Olympus 25mm f1,8 is camera B and C (One could also a 45mm f1,8 for C)

I like to have a DOF from the center of the table to +2m behind the chair. See the CS Pro results below.

With a single camera set-up, you will select either camera A fitted with the 17mm lens or camera B with the 25mm lens. The key is the lens FOV (Field of View). If you prefer an upper body with a face view, the 25mm will work well, and if you prefer to have part of the desk included you will select the 17mm. This example is not an exact design, you still need to calculate the details. Camera C is meant for product views, that is if you like to have detailed product views in your presentation video.

Selecting an aperture and focus point for landscape images

One can use any application to calculate the best focal distance for a landscape. As said, it is key you practice with your camera. The practical experience provides a good feel for what works best for you. My personal lens preference for landscape photography is 9mm to 25mm. I test each of my lenses and then record the results in my aperture "sweet spot" notebook. My preferred landscape apertures range from f5,6 to f7,1, and in some cases, I will go up to f8.

The key is not to focus on the far distance but to select the "best" focus point. I prefer to use the rule of thirds to determine my focus point. I will then use SAF in Mode 2. This is similar to the back focus technique and enables me to select a focus point, move the camera, reframe, and take the image. See this article for more on this focusing technique.

The third method works on the principle that the distance from your camera to the focal point should be a third distance into the scene. That means everything twice that distance behind the focal point will be in focus. The closest in-focus point will depend on the lens aperture and the lens FL. This is the reason we prefer to focus on the first thirds when doing landscape photography. Again, you need to practice this method and experiment until you are comfortable with the results and your camera.

One more focusing method - Focus Stacking

In more serious cases photographers prefer to use focus stacking. Some Olympus cameras do this all automatically inside the camera. Others will take the stacked images and as explained in this video, create the final image in Photoshop. When watching the video, think of where you will select the different focal points for each stacked image. In other words, break each stacked scene up into thirds and select the focal point on the first third. (What camera did the presenter use, a crop sensor, or a FF camera?)

My final thoughts

Preparing for this article I spent a lot of time and I took many images while testing the two Apps. I was trying different focussing techniques like MF, SAF, and CAF. I was looking at what works best, a single AF point, 9 group AF points, and more. Each time I came back to the single AF point placed in the center of the camera screen. I also preferred MF or SAF depending on the situation.

I often used my EM1 II together with my A7 III. Interestingly, the A7 III images are more detailed than the EM1 II and one would expect that (24MP versus 20MP). That said, the closer I get to my camera/lens combination "perfect" settings, the smaller these differences are. Practicing with your camera and finding those sweet spots and best settings will result in significant image quality improvements.

The worst thing you can do is buy a lens, have no sweet spot or preferred aperture strategy, focus in the far distance, and expect great results...