TIP:- The filter effects are best viewed on a 27" 5K iMac and second best on a Macbook Pro.
I've been having fun editing my older DSLR raw and jpeg files. All the images in this article were edited in Photoshop or PhotoLab. I used DxO FilmPack to add an analog film look to each image. Many of the photos were taken with E-Series DSLRs.
It's now possible to extract more data with the newer iterations of Photoshop, DxO, and Workspace. They literally make older raw files shine again...
It is surprising to see how effective these raw converters are today. Looking at the results, PhotoLab is a step above the rest when converting Olympus raw files. The dedicated DxO lens database is the key to this performance.
Now is the time if you have a collection of raw files waiting for the right Raw Converter. I kept reworking my older raw files and only got satisfactory results when I purchased PhotoLab. DxO also improved its editing sliders in newer versions of PhotoLab.
Olympus E520 with 14-42mm Kit Lens - ISO100, f13, 1/160 (FilmPack 5 - Agfa Ultra Color 100).
My first Olympus DSLR was an E-410 with 14-42mm and 40-150mm kit lenses. My previous DSLR was a Canon 350D and a PowerShot G7 compact camera. I had good results with Canon. When I bought the Olympus E-410, I was surprised to see how well this tiny camera performs.
The image below was taken with my tripod and 3 bracketed images. I created the HDR in Photoshop and the film profile with FilmPack 5. I added specific details below each image. Click on any image to see them in the Blogger Image Viewer.
Olympus Pen F w 17mm f1.8 lens - ISO200, f5.6, 1/400 (Raw edited in PhotoLab 4 plus Fuji Provia 100F profile).
Olympus E410 with 14-42mm Kit Lens - ISO200, f10, 1/40 (HDR in PS with FimPack 5 - Fuji Provia 100F).
Almost all photographers will agree that the Pen-F is one of the most exciting creations from Olympus. It wouldn't surprise me if they become collectors' items. Following them on the secondhand market, I noticed they are nearly more expensive than the original selling prices.
I have been using my Pen F with my older E-Series DSLRs. As said, I am working on a profile to mimic the E-Series jpeg output. That said, it seems easier said than done. Almost every E-Series camera has a unique analog image look. One should create an E-1, E-500, E-410, E-620, or E-330 look.
Olympus E410 with 14-42mm w Kit lens - (PhotoLab 3 with Adox Color Explosion).
Olympus E500 Jpeg directly out the camera - not edited and no filter - Image was taken in South Africa.
Olympus E450 w 18-180mm f3.5-6.3 - ISO100, f7.1, 1/250 (Jpeg edited w PS Raw + Lomography Redscale 100).
Olympus E30 w 14-54mm f2.8-3.5 - ISO100, f7.1, 1/400 (Edited w PS and Generic Kodal Ektachrome).
I often wondered about the original R&D specifications while working with some of my older E-Series DSLRs? What were the main challenges Olympus engineers faced when designing Olympus cameras like the E-1 and E-410 or unique cameras like the Olympus Pen-F or E-330?
Were they tasked to create DSLR cameras that should shift film or analog photographers toward digital cameras? When last did you use an older E-Series camera? Did Olympus continue this strategy with their mirrorless cameras, or are they now focussing on digital competitors?
Olympus E3 w 14-54mm f2.8-3.5, ISO100, f7.1, 1/160 (PhotoLab 3 w Fuji Velvia 100).
Olympus E620 w 18-180mm f3.5-6.3 - ISO100, f11, 1/100 (Raw edited in PhotoLab + Fuji Velvia 50).
Olympus E30 w 40-150mm f3.5-4.5 - ISO100, f4.4, 1/80 (Edited w PS and Fuji Sensia 100).
My focus was the IQ differences when I compared the EM5 MKII and the Pen F. Apart from having different image sensors, they are functionally almost identical. Did Olympus supercharge the EM5 II by upgrading an already capable 16MP sensor to the new 20MP sensor? The next step was to add more powerful and Creative Color Features to Workspace and the Olympus Pen F.
It would have been nice to have more information on the older E-400? This is another one of those unique E-Series cameras with a 10MP CCD sensor. It's the only Four-Thirds camera with a 10MP CCD sensor. I am fortunate to still have one of these unique DSLR Olympus cameras.
Olympus E510 w 14-54mm f2.8-3.5 - ISO100, f10, 1/160 (All edited with PhotoLab 3 + PS + Ilford Pan 100).
Olympus E620 w 12-60mm f2.8-4 lens - ISO640, f3.9, 1/100 (Raw edited in PhotoLab 4 + KodakChrome 64).
Olympus E410 with 14-42mm w Kit lens - ISO100, f4.5, 1/40 (PhotoLab 3 with Kodak Porta 160).
Olympus E410 w 14-42mm kit lens - ISO100, f8, 1/160 (Edited with PhotoLab 3 w Agfa Vista 200).
DxO FilmPack 5 is one of the most edit-friendly filter software packages. It's possible to quickly create an analog film look with the different FilmPack film profiles. For example, record high-quality jpegs for FilmPack 5 with the exposure techniques in my articles. For more info, see this video.
It's possible to apply film profiles on jpeg and raw files in DxO FilmPack 5. Photographers preferring jpeg files can open the image in FilmPack, readjust any ETTR adjustments, and add color corrections. Next, you will apply your analog filter. FilmPack also allows us to fine-tune its filters and save it as a new analog profile. That means you can create your own specific image look in FilmPack 5.
Olympus E450 w 18-180mm f3.5-6.3 lens - ISO100, f9, 1/320 (Edited with PS + Kodak Kodachrome 64).
Olympus E410 w 14-42mm Kit lens - ISO100, f9, 1/250 (PhotoLab 3 and Kodak Elite ExtraColor 100).
Olympus E450 w 18-180mm f3.5-6.3 lens - ISO200, f5.6, 1/160 (Edited w FilmPack Kodak Kodachrome 64).
DxO FilmPack is perfect for the photographer who uses jpegs and does basic editing. The DxO film profile adjustments are flexible enough to let them create a personal image look.
It has a basic exposure panel with some adjustments plus curves. It also offers basic creative sliders plus the ability to simulate some lens filters.
Olympus E620 with 12-60mm f2.8-4 lens - IS=160, f4.5, 1/250 (Raw edited with PhotoLab 4 + Fuji Velvia 50).
Olympus E620 w 12-60mm f2.8-4 - ISO3200, f2.8, 1/8 (Raw edited in PhotoLab 4 w DeepDive Noise removal, no filter applied).
Olympus E3 with 14-54mm f2.8-3.5 - ISO100, f8, 1/100 (JPEG Cropped in PS - no filters used).
Olympus E400 w 14-42mm kit lens - ISO100, f8, 1/6 (Edited in PS + Luminar 4 + Kodak B&W filter)
The panorama below consists of 4 jpegs from the Olympus E-520. I combined the images in Photoshop. Adobe did a great job of improving its panorama function. The "new" content-aware function also makes it easier to create panoramas. It's great to take a panorama sequence from 2009, build a panorama in Photoshop, and do the final finishing touches in DxO FilmPack 5.
Olympus E620 w 14-54mm f2.8-3.5 lens - ISO100, f7.1, 1/500 (Edited in PS + Luminar4 + Kodak Ektar 100).
Olympus E520 w 14-54mm f2.8-35 lens - ISO200, f13, 1/180 (Edit in PS, Luminar, Agfa Rollei 100 B/W 400).
Olympus E520 w 14-54mm f2.8-3.5 - ISO200, f13, 1/250 (Edited in PS + Kodak KodaChrome 64).
The HDR below consists of 3 bracketed images from 2011. It was a winter scene with random snow. The clouds with the disappearing sun were unique, whereas the rest of the scene were dull and boring. I used three +/- 1EV bracketed images and merged them in Aurora. I then edited the result in Luminar to create a 3D effect. I did some additional editing in Photoshop to lift the mid-tones while keeping the clouds as is. I added a film profile with the FilmPack 5 plug-in with the final step.
Olympus E400 w 14-42mm Kit Lens - ISO100, f8, 1/5 (3 image HDR in Aurora w Fuji Provia 100F).
This article discusses Image Quality and the know-how to improve it. Digital photographers are not encouraged to improve their digital photography skills, and it's nothing new to see comments like, "Who needs technical knowledge?" The trend is AI, and the expectation is AI will fix anything.
We are reviewing digital cameras and the image signal from the subject to the SD card. This includes the histogram, why the RAW format is necessary, and the Exposure Mix. Our focus is better image quality with any camera. We also review the differences between digital and analog cameras.
Olympus EM5 MKI with 12mm f2.0 lens - ISO200, 1/500, f8.0 (Jpeg out the camera - slightly edited).
It hurts when M43 photographers recommend avoiding apertures below f4 to prevent diffraction or staying below ISO800 because M43 sensors are tiny. The latest social media trend is 16MP and 20MP cameras are not recommended for wildlife and landscape photography. These recommendations look more like a marketing reality versus experienced photographers with factually inspired advice.
For more on future trends and collective opinions, see this link.
More recent YouTube documentaries from photographers with mirrorless cameras are more inspiring than social media when considering the content, excellent video, and photography skills.
The Content:-
Introduction
Theoretical summary of exposure
Why should we consider using a light meter?
Can I trust the histogram on my Olympus camera?
What are the benefits of using raw versus jpeg files?
Improving Image Quality - summarizing everything
Summary of all my articles on exposure & image quality
Conclusion
This is one of the best videos on exposure, with simple and good examples.
2. A theoretical Summary of Exposure
Definition for exposure: The amount of light per unit area reaching the photographic medium.
It's good to have a good understanding of exposure and to broaden your experience on the various reflected light situations and what to consider when setting your exposure:-
Understanding how to read and manage Illumination versus Luminance?
Incident versus reflected and how the different materials reflect the light...
The Exposure Value System (EVS), also known as exposure or EV charts...
What is Neutral or 18% gray, and why is this critical for digital photography?
Why the zone system, and why is this a good tool for middle gray and color?
The Photons to Electrons graph and variables like Sensor Saturation and SNR.
All image sensors have a noise floor, and we control the visibility of the noise floor.
See this article: Exposure Mix and how-to manage your "SNR and ISO" Ratio.
Figure 1.
2.1 The Exposure Value System or EV charts
The Exposure Value System (EVS) was designed to have different exposure combinations for each Light Meter reading or Exposure Value (EV). For example, it's possible to use different Aperture and Shutter Speed combinations based on the camera or Light Meter exposure reading. We also use EV charts (below) to plan our Aperture and Shutter Speed combinations.
The ISO stays fixed on analog cameras, and the photographer only works with the Aperture and Shutter Speed. The ISO function gave digital photographers the freedom to randomly change the amplification of the image signal from the sensor. This was a mistake, especially for untrained digital photographers. It is critical to master the roles of the ISO function versus the aperture and shutter.
The camera's Auto Exposure feature canceled any benefits of having the EV System. Promoters use this to promote false theories on noise and the ISO function. For example, how many photographers think the ISO changes sensor sensitivity or the size of the sensor determines image noise? The truth is sensor sensitivity is set at the factory, and each image sensor has a noise floor. The ISO function amplifies the sensor's image signal and the sensor's noise floor. These basics are critical...
The above EV chart is one of the handiest tools for analog and digital photographers. It helps to determine the correct exposure mix, plus it's possible to plan your aperture and shutter speed combinations for your creative needs. See the above video for more information.
You need the following for Light Meters and EV charts:-
A basic understanding of how to use these EV Charts
A proper understanding of setting a neutral (18%) gray WB
Become comfortable working with gray scales or zone charts
Olympus EM5 with 14-150mm MKI f4-f5.6 - ISO200, f5.6, 4 Sec - Raw file edited with WorkSpace.
The SpiderCube is another exposure option for Olympus photographers. We can measure our Dynamic Range, White, Black, and 18% gray points with the Cube. Point the camera to any of the Cube's sides and take a measurement. The camera's light meter reads the Cube's black, white, and neutral gray values. They create 3 green spikes on the camera's histogram. The chrome ball is used to adjust a polarizer filter.
One could do separate articles for the Cube and Spider ColorCheckR. I added two videos to my reference list. This is not a paid promotion on DataColor products.
It's about a tested solution to determine the dynamic range, neutral gray, and white balance. The Cube's value improves with regular use for the professional and hobby photographer.
I studied different light meters and EV charts to improve my exposure know-how and ability to visualize techniques like ETTR. As you improve your skills in exposure and ISO, you will become more confident with your digital camera's Auto Exposure function.
The Zone System as developed by Ansel Adams - See Wikipedia.
The camera's exposure is 1-Stop above 18% gray with an ETTR of +1EV. The resulting image is not only brighter, the tonal data also improves. Always select an 18% gray exposure with the camera or WS if accurate colors are critical. The next step is to have the correct WB and exposure for snow. You can also use your camera spot meter with the zone system to quickly determine the dynamic range of your image. For example, Workspace and the Enhanced Raw Format are perfect for resetting ETTR adjustments (exposure comp in WS) or doing color corrections...
One would typically do the following with the Enhanced Raw File and Workspace. The first step is to adjust the exposure to 18% gray with the Exposure Slider. The Exif data from the image tells us if we used exposure compensation. Any brightness adjustments are changed with the brightness slider or the Tone Curve function in Workspace. Why are these steps or the sequence critical?
Figure 2 - The above graph explains the terminologies you should know.
2.2 The Exposure Equation
The exposure equation shows the link between the ISO, aperture, and shutter speed. We know the ISO does NOT add more light onto the sensor or change the sensor's sensitivity.
The different uses for ISO are:-
Analog photography. The ISO synchronizes the film's sensitivity with the light meter.
Digital photography. The ISO amplifies the image signal from the sensor - article.
How do we set the exposure? The exposure formula is abstract because it does not explain the different variables. We can only move forward knowing the ISO amplifies the image signal and the Aperture and Shutters Speed expose the sensor. The aperture and shutter speed also determine the optical characteristics of the image. The application of this knowledge improves with practice.
Exposure Equation.
For example, many Olympus cameras will go lower than ISO200. The EM1 II and III can go down to L100 and L64. Others only have the ISO-Low option. Promoters and influencers promote the idea of not using ISO values below ISO200. Let's take a closer look at the ISO function.
The ISO equation shows the ISO is directly proportional to the Aperture and Shutter Speed. That means the ISO increases with lower Aperture and Shutter Speed values and vice versa. This explains why the ISO amplifies the image signal. The reason is the Aperture and Shutter Speed are the only 2 variables exposing (adding light) the image sensor. The native ISO of the camera is determined with a fully saturated sensor. This also explains why the camera's dynamic range decreases at high or lower ISOs. (See Figure 1) This knowledge should not be a reason not to use lower ISOs. The real benefit of using ISOs below the native ISO is less image signal and noise amplification.
Olympus EP3 with 12mm f2.0 Lens - ISO200, 1/400, f7.1 (Raw edited in PhotoLab 4 and PS).
3. Why should you consider a light meter?
One of the more critical challenges cameras have is the interpretation of exposure measurements. The reason is the sensor's luminance perspective. (Figure 2) As you know, the focal length of your lens determines the field of view (FOV) and what part of the scene luminance is seen by the camera. FOV causes the camera's exposure reading to change as you move your camera. The camera's FOV (field of view) impacts the camera's automatic "exposure" readings.
This means it's good to think when using the camera's auto-exposure function. Consider your subject, illumination, and the luminance (reflected light) linked to the camera's field of view and ambient conditions. Light meters look at the total FOV and are practical for complex exposures.
The most concerning aspect of digital photography is the general level of exposure skills. Add to the complex features of modern digital cameras, and many photographers will never master the basics of digital exposure. For example, spending time with a group of photographers half my age, I was stunned at their lack of knowledge on optimally exposing the camera's sensor.
These are good bargains secondhand.
You should know these older meters require special batteries if you like an old-style light meter like the Gossen below. If you find compatible batteries for these meters, please let me know. The other alternative is mechanical meters because they don't need batteries. I use the above light meter.
Five simple reasons to use a Light Meter:-
They make it easy to read both incidence and reflected light.
Cameras only measure part of the scene or lens Field of View (FOV).
They help us to measure the reflected light that's exposing the sensor.
Light meters also improve our engagement with the exposure process.
We can measure the scene's dynamic range (DR) with Spot Meters.
There are more benefits to using a light meter. For example, we can use the camera spot meter with a light meter to determine and manage our exposure settings and SNR to ISO ratio.
4. Live View and the Histogram on Olympus cameras?
Olympus was the first manufacturer to introduce a working Live-View for DSLRs. I have an older E330, and it's fascinating how they implemented Live-View. The E330 was launched in 2006 and used the first 8 MP Live MOS sensor. Apart from Live View, the new Live MOS sensor demonstrated the commitment from Olympus to design excellent Four-Thirds and M43 cameras. For example, the Standard CMOS sensor's pixel control wiring impacts its Optical and Quantum Efficiency more than Live MOS or BSI sensors. This already showed in the Olympus product strategy from 2006.
Modern Olympus cameras use advanced Live-View features to read the information directly from the sensor. The only difference between the data from the sensor and Live View is the sensor is a linear device. The sensor's RAW data has to be converted with an appropriate Gamma or Display profile for us to see the data. The REC 709 is a typical display profile. Also, see this article.
The Truepic Processor overlays a Gamma or REC 709 profile over the RAW data coming from the sensor. This display profile is fixed, which means the Live View display is directly linked to your sensor data. The Olympus Gradation function adds another layer to the exposure calculation. For example, the Gradation "Auto" option changes the sensor's linear output to a flat DR profile.
Let's trace the image signal path from the sensor to the camera's display:-
The Reflected Light from the scene is recorded by the image sensor.
The raw image data is sent from the sensor to the camera Truepic CPU.
The Truepic CPU applies a display REC 709 profile to the image signal.
The camera then accesses the ART processor to add any creative settings
The display shows a profiled view of the Art Processor and Sensor Data.
You can, therefore, trust the histogram as it tracks the sensor signal 100%.
Experiment with the Gradation function and see how it changes the AE.
Promoters like to distract Olympus photographers when saying the Olympus histogram receives its info from a JPEG file. Why is this incorrect? The Live View data does not come from a JPEG file? There are no available JPEGs before we record the image. Why do M43 photographers argue about this? Olympus only uses the file information when we open the Enhanced Raw File in Workspace.
It's possible to test almost any exposure information with your Olympus histogram. For example, does the data come from the image sensor or the JPEG file? We can determine this with the "Live View Boost" function. This function can be found in menu D for most Olympus OMD cameras.
Select "ON" for Live View Boost and the On1 or On2 Live View option. This will disable the Exposure and Art Processors. This means the Live View display is a fixed signal from the Image Processor. See the Users Manual for more information about the On1 and On2 options.
If you want to study a captured image histogram, go to playback, select the image, and press the INFO button until you see the histogram on the camera's display.
Olympus EM5 MKI with 75-300mm lens - ISO1000, 1/1250, f6.7 (Raw edited in PhotoLab 4, PS & Luminar 4).
It's good to trace the image signal path if you have questions. As we have seen, the histogram is connected to the CPU (Image Processor) and the CPU to the sensor. Any adjustment the photographer makes to the CPU is displayed on the histogram. It is practical to cancel all the ART adjustments when you set your exposure or when you like to optimize (ISO to SNR ratio) the image sensor.
One of the reasons the above example or way of planning/thinking is not general knowledge amongst M43 photographers is because Olympus cameras use unique and powerful features like:-
How the Four Thirds design improves the image signal transfer to the photocells
Olympus invested much R&D in optimizing sensor sensitivity (Live MOS sensors)
Olympus cameras have unique options like Highlights & Shadows to adjust the image.
Olympus developed a class-leading Live View function to support photographers.
It offers a win/win situation when you combine these elements with good exposure skills.
Unlike promoters raving about resolution, we know it does not relate to effectiveness. The absolute features, design, and type of display have a more critical role in their value and functionality.
Olympus E-520 with 14-54mm f2.8-3.5 - ISO200, f5.6, 1/100 (Jpeg edited w PS raw and Luminar 4 - sky replacement).
Talking about leading somebody down the garden path - why does the 20MP EM1 have less noise than the 10MP E520?
See this article for more information about Workspace and editing your images in Live View. For more on my How-To page on WorkSpace, see this article. (See technique 19)
5. Why should we use raw and jpeg files?
Image editing is more acceptable today than in the past. Digital photography introduced a completely new era of artistic freedom. Social media would be different without digital photography. We also witnessed this creative revolution amongst the younger generation because they are surrounded by digital devices, editing applications, filming, and social media. How radically different to when we had film roles as a recording medium and how we physically joined film strips into a final movie.
Unsurprisingly, 80% of all social media images started as jpegs. What percentage of those living from photography work with raw files? For example, many RAW editing features are now available to jpegs. These include adjustments like white balance, highlights, shadows, or noise reduction. Thinking about it, most raw converters like Lightroom are nothing more than regular image editors. This is probably why Workspace and the Enhanced Raw Format is an open secret...
Have you wondered why I started reviewing the digital image-taking process? Like most, I was influenced by reviews and "fact statements" like "full-frame cameras capture more light" or have less noise and better image quality. After buying the Sony A7 MKII/III, I learned the images are different but not necessarily better. How do you personally define better image quality?
The IQ differences between the A7 II and my Pen-F were so insignificant that I knew there must be a way of improving the results of any camera. It became clear the answer was to control the luminance reaching the sensor. This is how my journey started on exposure and digital cameras. In my quest for that tiny and "subjective IQ improvements," I started studying digital cameras.
As digital cameras improved, the invisible Auto and AI features became advanced. That means each new generation of digital cameras needs fewer photography skills. The older the digital camera, the more joy old-school photographers have by optimizing the image-taking process for the best possible results. This is a creative and rewarding process that no IA can copy.
We know the current range of M43 Live MOS sensors is nearly as sensitive as BSI sensors. We also know pixel area is one of many factors impacting sensor efficiency.
Studying the differences between jpeg and raw files, we see jpeg files are 8-bit, and raw files are typically 12-bit or more. A typical jpeg file has 256 shades of gray for each RGB channel, whereas a 12-bit raw file has 4096. These differences keep on adding to make raw files more interesting than jpegs. Have you asked yourself why can't the Raw Converter change the ISO?
The short answer to why photographers prefer raw and not JPEG files is simple. Raw files have more image data to work with. This brings me to another question. Photographers are prepared to sell their complete camera kit for a subjective and tiny improvement in image quality. Why would they not consider working with raw files or improving their exposure skills?
Workspace and the Enhanced Raw Format are the best reasons to use raw files. Everything changes once you master the concept of having access to your camera settings in Workspace
Olympus EM5 MKI with 12mm f2.0 lens - ISO200, 1/500, f8.0 (Jpeg out the camera only slightly edited).
6. A summary of improving your image quality
As said in the above section, my articles on exposure, the digital camera, and digital photography mainly benefit those who:-
Needs that +1% image quality improvement without buying a new camera.
Needs to master the digital image-taking process and new camera features
Are challenged by Astro, night cityscapes, or other demanding photography
Know that a different-looking image does not mean you improved your IQ
In one example, a surprised M43 forum poster replied, "But this applies to all cameras." I will never forget this reaction because only the M43 community doesn't seem to know. Everyone else is using ETTR. It's as if the M43 community is safely locked inside this "my inferior small sensor" space.
The Digital Exposure Triangle explains almost all digital camera and digital photography FAQs.
When I had my first Olympus, the E410, I loved taking nighttime images of the city. I always have my tripod with me, and it was OK to use ISO200 and select the appropriate aperture and shutter speed. I knew it was impossible to take handheld images at night. As digital cameras improved with better IBIS, it was mindblowing how fast people turned their backs on basics and started demanding super-high ISO capabilities, the largest possible sensors, and the best IBIS in the world.
Out the window went everything photographers learned over the past 50 years. Have you ever seen your local news presenter jumping left to right, back to forth, or in and out of the frame while presenting the evening news? Why on earth would YouTubers do that? Did you know my 6-year-old GH4 has AF tracking and will track the sitting or standing presenter while recording an interview?
Olympus E-410 with 14-42mm Kit lens - ISO100, 1/160, f10 (Edited with PhotoLab 4 and PS).
Similarly, marketers present sensor size as the way to photography heaven. In fact, the physical size of the backplate holding the pixels plays absolutely no role. Also, the diameter of the photocell is only one of many variables impacting your sensor's sensitivity.
You need to know your camera and what technique works best with what application. That said, there are so many more ways of improving image quality:-
Using image bracketing techniques (stacking) to control noise and exposure
See this quick and powerful PS technique on how to manage complex exposures
Many more PS editing techniques from the same photographer. See this link
The high-detail HDR technique I recently posted is another example
Using good old analog photography know-how, like using a flash or a tripod
Olympus features like Live Comp and Live ND give good image quality
The Olympus Hi-Ress Mode (The answer is to practice for good results)
Simply applying ETTR in poor lighting and editing (correctly) in the camera
An interesting technique called image averaging uses multiple images
If you use the Gradation function, select NORM when the highlights clip
Folks, I am at the point where I take clean and detailed images at ISO3200 with most Olympus cameras. In some cases, the results at ISO6400 are even great. At the same time, I am constantly working on my PS editing skills. The only thing standing between you and great M43 images is social media misinformation and your studying and practicing too little.
Olympus E-410 with 14-42mm Kit lens - ISO400, 13 Seconds, f13 (Edited with PhotoLab 3 and PS)
7. A summary of my related articles on exposure and image quality
All the basics you should know about digital cameras and exposure - link
Photowalk with my Gossen exposure meter and the 2-step exposure technique - link
Some casual photos from my EP-7 and a general discussion - link
See this 2024 article on advanced exposure techniques and Workspace - link
8. Conclusion
My journey continues on image sensors and all the related information in my articles. I have tried several examples, and the results are without question. The M43 sensor is all we need for stunning results. It's time to move on to the next chapter.
My next focus is:-
Improving my image editing skills (working ON1, Workspace, and PhotoLab).
Filming, video editing skills, and interviews and storytelling or documentaries-
My wife wants to start a storytelling series with videos creating unique characters.
I will spend time improving my exposure skills and applying exposure techniques.
I will spend less time writing articles but follow my emails and comments.
I need to again bond with my Pen-F with both jpeg and raw format photography.
I wish you all a great season, lots of fun with your cameras, and bring home great photos...
Why is it not possible to change the ISO in Workspace? I assume the reason is any ISO adjustments in photo cameras happen to the analog image signal. There is no digital history of these ISO adjustments. It is possible to change the ISO in the ProRes Video Format. The camera applies digital ISO amplification in ProRes mode.
References
Cambridge in Colour article on the raw format - Link
Interesting article on how the raw file is rendered - Link
Are you ready to create camera profiles with Workspace? Our ability to trace the image signal from the subject to the SD card improved over the past 3 years. This knowledge lets us do more with our Olympus cameras and WorkSpace. Let's discuss the benefits of knowing your camera and what we should know when photographing with Olympus cameras and editing with Workspace.
2MP FinepixA201 from 2002. Edited with Photoshop.
The Content:-
Introduction
Considering extremes and having a personalized style
Digital cameras didn't cope well with fine details and delicate color nuances in the past. Many couldn't set the exposure or measure the white balance well, and technologies like anti-aliasing and noise reduction removed most of the fine details. Lenses designed for digital cameras were in short supply, and many photographers settled on a solution with adapters. Photographers accepted that digital cameras were a compromise, and image editors like Photoshop formed the bridge between the image captured with the camera and the final edited photo.
Did image editing hold its position as an enabler for digital photography? Some photographers find it rewarding to create the final image in the camera. Should photographers have the skills to create their own image style in the camera? What do people see when they study your photos?
Olympus EM5 II with Lumix 35-100mm f2.8 - ISO200, f5.6, 1/250 (Un-edited EM5 II jpeg )
Each photographer needs a unique photography style and brand. With photography style, I mean both the image from the camera and any raw conversion or image editing. This is one of the best ways to differentiate your photography from others. Your photography style will become the link between the results with your camera and your unique image editing style with Workspace.
Cameras are designed to provide neutral colors. For example, digital cameras use a standard Gamma curve, fixed White Balance options, and neutral contrast and saturation values. Many photographers think they capture neutral photos with these default "settings." This is not 100% correct because they are designed to give an average or neutral output for a wide range of applications.
Analog photography is similar. I used to give my personal preferences to the developers when I gave them my film roles. They would apply my "Photoshop" adjustments in the machine that developed my film roles. The result was my analog photos had my own unique style...
Which of the above images is correctly exposed? I did nothing special because the camera was set to automatically select these exposures. Did the camera use the best choice for each photo? I simply tilted the camera up and down to get these 3 exposures. My 17mm f1.8 lens will give 3 more exposure values. How does this example influence my sensor's saturation and ISO-to-SNR ratio? Take a moment and study this article about the Olympus Gradation Function.
We learn the following from this example. Knowledge is an enabler and allows us to manage the sensor and the camera's performance. The camera's focus point (tilt) and the FL of the lens influence the camera's exposure measurements. It's possible to capture these photos without clipping the highs or lows. The first step is to master your WB and exposure values and personalize your image style.
2. Considering extremes and having a personalized style
The following image was well-exposed. That means it's possible to recover the highlights and shadows. My aim was to maximize image information. The result is a "flat" image which is not a truthful replica of the original scene. The advantage of using Olympus cameras is that Workspace uses the same settings as the camera. This allows us to tweak our camera setting with Workspace.
Many photographers will push the shadows and highlight sliders for more image details. Their goal is maximum dynamic range versus a truthful replica of the original scene. The result is a "flat" looking image. One of the best-kept secrets of using Olympus is to have it right the first time.
The Enhanced Raw file was converted in Workspace, and the 16-bit Tiff file was prepped in Photoshop.
The illustration below shows the camera jpeg and the converted and edited raw file. I pushed the highlights and shadows hard to get more image details. You will see this image style does not have natural contrasts. Residential photographers typically need more highlight and shadow details and will push harder if clients ask for more image information.
The ongoing dynamic range debate and camera reviews challenge photographers unnecessarily. For example, social media creators are some of the most sensitive audiences. Do you remember the flat or "pastel" looking images that were popular with pink or orange overlays on Instagram?
3. How to pre-edit what you see in the WorkSpace Live View mode
It's good to consider the following as your own image style develops. We learned Olympus cameras and WorkSpace use the same image-processing engine. This enables us to create and test image profiles with WorkSpace.
We also learned the final camera Live View display is replicated in WorkSpace when we activate our camera setting in Workspace. WorkSpace uses our camera settings when we convert the Enhanced Raw File. This enables us to check and change our camera settings with Workspace. This is different from randomly adjusting random sliders in Lightroom or Photoshop...
This "processed" jpeg file is directly from the EM5 II (see my camera settings below). It's possible to edit these settings in WS.
Here is the "image profile" that I used in the above EM5 II image:-
Exposure compensation +2/3 EV (ETTR)
Shadows set to -1 (curves)
Highlights to -2 (curves)
The contrast was set to +1
Picture Mode was i-Enhance
Gradation was set to Auto
The older EM5 and the EM10 II do not have the same Mid-Tones slider as newer Olympus cameras. I used exposure compensation for 2 reasons. One is ETTR, and the other adjusted my mid-tones.
4. A different way of creating your own image style
Below are two examples, one pushing for maximum shadow details plus a more balanced image. Both started with the same series of bracketed images but with different editing styles. I also used this high-detail HDR technique in Photoshop.
You will have a more natural 3D look when you study images with a balanced shadow and highlight look. Shadows and highlights enable us to create more truthful landscapes. The sun's direction is also critical, and the camera focus points are key. Also, use leading lines and reference points.
Your client may prefer "hard" shadows or blacks. Theoretically, this was not possible with the older E3. That said, one can create clean shadows and highlight details with the Photoshop 32bit HDR technique. Here is another way of working with shadows and highlights.
I purposely distanced myself from getting the "perfect" image look as I started to refocus on contrasts and image style. I still work with highlights and shadows but with a different purpose. You may be forced to push the shadows or the highlights in Adobe Raw. This makes it difficult to create natural contrasts. Try this technique in those cases.
Study the example below. The converted RAW file's foreground visibility increased while maintaining a distinct contrast to the foreground, the water, and the mountains in the back. It would have been too easy to simply "flatten" the image by pulling the shadows up...
5. Examples of what a personalized image style looks like
All the images below were edited with distinct contrasts. What is your preferred image style? You will discover a natural feeling of depth if you evaluate the image below versus the original jpeg. I converted the Enhanced Raw File in WS and prepped it for the web in PS. This image stretched the EM5 II's raw file. Three +/-1EV bracketed files will give better results. Something interesting, I focused on the trees and any patterns in the background, not the details or counting leaves.
The Enhanced Raw file was converted and edited in WS. The 16-bit Tiff file was prepped in Photoshop.
The raw file was edited in WorkSpace, and the final steps with Photoshop.
The raw file below was edited in PhotoLab 4 and finished in Photoshop. Folks, PhotoLab 4 is the best raw converter for recovering images, plus it looks like a perfect match for Olympus.
As you study the image below, you will see the shadows on the left could have noise. The sensor is not saturated in the shadow areas, and we can expect less tonal data and more shadow noise. In fact, if you study the histogram, you will see the shadows are all the way to the left.
It was possible to capture a more detailed look by shifting the histogram to the right. If I were on holiday and wanted a quick photo for social media, then the EM5 II HDR function is enough.
Olympus EM5 II with Lumix 7-14mm - ISO200, f5.6, 1/400.
Panasonic LX100 12MP - ISO640, f2.8, 1/30 (RAW file edited with Photoshop with strong contrasts).
The final example represents a "new" image style I created in WorkSpace and added to my Pen F. I tested it with my late afternoon walks.
I used the Color Creator to get a warmer-looking result. I also tweaked the white balance a little. Here are my camera settings:-
- Color Creator - Color 1, Vivid -1
- White Balance (Amber) -1
- Curves Mid Point -2
- Curves high +1
- Curves low -1
Select the correct scenes for your photography walk if you plan new profiles in WorkSpace. You can also use an image from the same camera in WS.
Wait for WorkSpace to apply the changes after each adjustment. Take your time and check the before and after results. Carefully evaluate each adjustment before making another adjustment. Take full advantage of Workspace and your bigger PC screen when developing profiles.
6. Interesting editing Tips...
Only consider your photo session complete if your camera adjustments are verified in Workspace. This is made possible by the unique relationship between Workspace and Olympus cameras. Any camera will deliver good image quality if the sensor's saturation and the white balance adjustments are optimum. I did several articles in 2023 explaining this unique relationship between the sensor's saturation level and how well we expose the image sensor.
Workspace is not designed as a recovery service for incorrectly exposed images. It's also better with global adjustments. The most effective strategy is to convert your Enhanced Raw Files with Workspace and plan any advanced editing techniques with photo editors like Photoshop.
Olympus EM1 III with the 12-40mm f2.8 Pro lens. The Enhanced Raw File of this High Ress shot was converted and edited with Workspace.
7. Conclusion
Olympus cameras and Workspace offer much value and the ability to present any scene as accurately as possible. The most valuable advice I can give any Olympus photographer is to improve your knowledge of digital photography and cameras plus practice, practice, and more practice.
Pen F w 17mm f1.8 compact. Raw edited in PhotoLab 3, Adjusted contrasts & dark (black) shadows.
