Wildlife Photography with Micro Four Thirds

Last updated:- 1st August 2023

I like the Pangolin Wildlife channel and watched several of their YouTube videos. I enjoy their photos, discussions, and the techniques they share on wildlife photography. They recently uploaded an interesting video about Micro Four Thirds and wildlife photography.

Olympus E3 with the 28mm f2.8 lens - ISO160, f2.8, 1/100 - Low light Raw file edited with PL-5 and DeepPrime NR.

The example about noise at ISO20K made me wonder how much "low light" is available at nearly 7 Stops of ISO amplification. How much of the wildlife photographer's daytime is spent in these conditions? It's also clear the Pangolin photographers support the "size and capture" theory. Will their videos benefit from a more theoretical understanding of the digital camera? For example, the ISO to SNR ratio is enough to explain the scenarios in the two videos we are reviewing.

Janine talks about noise in this video and ways to improve image quality. Except for the part saying the "ISO function adjusts the sensor's sensitivity," the remaining content is excellent. The size and capture theory is like assigning an invisible handicap to M43 photographers.

Study the additional information below:-

- This is a more recent article discussing a visit to a South African game reserve.

- See this article about background blur (information) and the examples in this video.

- See this video for more about the best camera settings for wildlife photography.

- For more about Readout Speed or warping & wobbling, watch this video

- Study this article for more on image noise and ISO amplification.

"Olympus wildlife photographers are cheating..."

I enjoyed Janine's feedback on how full-frame photographers reacted to Pro-Capture. I disagree with the 1st disadvantage listed in the video or the "size and capture" theory. Noise is NOT a function of sensor size because EACH sensor has a noise floor. The characteristics of the noise floor are linked to the sensor's design. I also think the classic "portrait" look with blurred backgrounds works only in some cases for wildlife photography. The challenge for wildlife photographers is to display the natural habitat of wild animals without overpowering the subject.

My focus is the seasoned Pangolin photographers and the experience they share. How do we combine this experience with a theoretical explanation of the digital or Micro Four Third camera?

My family and I left South Africa 20 years ago. We will always be a part of Africa. A typical bushveld scene with my E3.

How does a theoretical explanation help photographers?

Each photographer should start with these 6 points:-

• All lenses have diffraction, and it's not something photographers should fear
• Sensors are linear devices, and they record less tonal data at lower SNRs
• Saturated image sensors benefit from higher SNRs with less image noise
• Your aperture and shutter speed control the reflected light to the sensor 
• The ISO function amplifies the image signal and the sensor's noise floor
• Pixels capture photons and not the size of the backplate they are placed on

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO160, f3.5, 1/3200 - Raw file edited with PhotoLab 5

We know M43 photographers benefit from a 2EV DOF advantage and the size and weight of M43 lenses. The summary below was designed for M43 wildlife photographers:-

• M43 photographers can safely use apertures between f5,6 and f8,0 (and higher)
• It's OK to target shutter speeds between 1/400 and 1/4000 (landscape to action)
• Always check your default exposure settings. (start at: ISO400-1600, f6.3, 1/2000) 
• Learn to use Shutter Priority, fixed ISO values, exposure comp, and the histogram.
• Understand the benefits of saturating the sensor or managing the SNR-to-ISO ratio.
• In most cases, M43 cameras don't need more than ISO3200. Also, use AI NR (WS)
• Why only IS=3200? Consider the advantage of having IBIS with suitable scenes.
• Planning and selecting the best time of the day is critical for wildlife photography.
• They always keep a sturdy tripod with them. IBIS does not stabilize your subject

Olympus E3 with the 50 - 200mm f2,8 - f4 Pro lens - ISO160, 1/2000, f4.0.

The above scene shows the natural habitat of wild animals. They are experts at hiding and becoming one with nature. One seldom sees them in open spaces in the bushveld or Kruger National Park. Wild animals will only go into open spaces when they drink water. I prefer the bushveld environments over the danger associated with open areas. That's why portraits with blurred backgrounds do not apply to wild animals in their natural habitat. I prefer the above image image look because it's natural. 

Andrew Goodall is one of my favorite wildlife photographers. See this video of his 2023 photo summary with many examples of excellent wildlife photos. Also, make a note of his camera settings.

Most wildlife photography is done in medium to good daylight conditions. Waterholes are popular locations. Talk to your local ranger about the photography spots you like to see. List the animals you want to photograph and when the animals drink. Master working with light and having the sun behind you. Always ask for information about sunrise and sunset safari drives and other opportunities. Another exciting destination for wildlife photography is the Etosha National Park in Namibia.

Olympus E3 with 50-200mm f2.8 - 3.5 lens - ISO160, 1/4000, f3.5 (Exposure compensation = -0.7)

Which M43 camera do you need for Wildlife Photography?

The best Mirco Four Thirds camera for wildlife photography is the one you have with you. I purposely posted these images from my older Olympus (10MP) E3. We don't need forum-approved cameras, the newest cameras, or those with the highest review ratings for wildlife photography. 

The Olympus E3 had no Subject Recognition or Eye Detection. Olympus did say the E3 had the fastest autofocus in 2009. While I enjoy technology and autofocus algorithms, wildlife photographers should know these technologies do not need to become deal breakers.

Olympus E3 with 50-200mm f2.8 - f3.5 lens - ISO160, 1/2000, f3.5, FL200mm - Raw file dited with PhotoLab 5 and PS 

Conclusion

Olympus has an excellent range of professional equipment. Pro lenses are designed for the highest levels of image quality, fast apertures, and the ability to extract fine details. These extreme levels of performance are only necessary in demanding conditions. Plan your photo sessions... 

Beginners and hobby photographers can expect excellent image quality from Standard and Premium Zuiko lenses. These are generally slower lenses, which is OK for wildlife photography. I decided to focus on three affordable solutions for those interested in wildlife photography.

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO160, f2.8, 1/640 - Handheld and Raw file edited with PL5

I prefer to use Olympus lenses with Olympus cameras and Panasonic lenses with Panasonic. These two manufacturers use vastly different autofocus systems. You will get the highest levels of compatibility when combining Olympus lenses with Olympus cameras. I have some lenses from Panasonic, like the Leica 25mm f1.4 and the Lumix 35 - 100mm f2.8...

Did you see the unique "bokeh" type backgrounds from the original Olympus Pro 50-200mm lens? There's something special about the original version of this lens. The newer version has a smoother background blur. I used both and like the older version for its character. While the M.Zuiko 12-200mm backgrounds are more refined, its "character" resembles that of the older 50-200mm lens.

Olympus E3 with 50-200mm f2_8 - 3_5 lens - ISO160, f3.5, 1/500 - Edited with PhotoLab 5.

Let's start with a few M.Zuiko Digital Lenses:-

• 40 - 150mm f4 - f5.6 (This is a good lens and perfect for smaller game parks)
• 14 - 150mm f4 - f5.6 (This multi-purpose lens works for smaller game parks.)
• 12 - 200mm f3.5 - f6.3 (An excellent lens and perfect for Kruger National Park)
• 75 - 300mm f5.6 - f6.7 (It's a good lens for large parks like Etosha National Park)
• 100 - 400mm f5 - f6.3 (I never used this lens. It should work for large game parks)

These are more cost-effective lenses for the beginner and the semi-advanced photographer. They offer excellent image quality with cameras like the EM10 II/III, EM5 II/III, and EM1 I/II/III.

Smaller Bush Lodges have several opportunities for casual bird and wildlife photographers. South Africa has many of these smaller reserves with short hiking routes. These parks do not have the Big Five and are perfect for those enjoying nature, birding, and wildlife photography.

Olympus E3 with 50 - 200mm f2.8 to f3.5 lens - ISO160, f3.5, 1/500 - Raw file edited in PhotLab 5

Which secondhand Olympus cameras are best for wildlife photography?

• The EM1 II is a great wildlife camera. They are affordable and offer many Pro features.
• The EM1 III is a more advanced camera. They are also more expensive secondhand.
• The EM5 II, the EM5 III, and the EM10 II-IV are affordable and excellent cameras.
• I recently bought a used EM1 MKI and am blown away by this excellent camera.

Here are my 3 proposals with one bonus camera:

1. EM1 II with the 100-400mm f5-f6.3 lens (Also consider the 75-300mm or 12-200mm)
2. EM5 III with the 75-300mm or the 12-200mm lens
3. The EM5 II with the 14-150mm f4-f5.6 II lens
4. The Pen F or the E-P7 with the 18mm f1.8 and the 14-150mm f4-5.6 II lens

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO 160, f3.5, 1/2000 - Raw file edited in PL5

Also, consider the Olympus 40-150mm f2.8 Pro lens with the 1.4X and 2X converters. This will give you more "Pro" flexibility plus a maximum full-frame reach of 600mm at f5.6.

Wildlife, bird, and landscape photography are great fun. Take the time to walk and practice with your new zoom lens before booking a trip to a game park. Finally, nothing beats the love for nature, enthusiasm, patience, and practice with Olympus cameras.

It was fun to edit these RAW files from my Olympus E3. It's easy to react and say, a great camera as I go through my images from 2010. I sold my E3 while being happy with its performance and image quality. I can only imagine what the RAW files would be like if I knew about the ISO-to-SNR ratio. I wish every photographer gets the chance to master these basics...

Take care and God's Bless

Siegfried

Olympus E3 with 25mm f2.8 lens - ISO160, f3.5, 1/320 - Raw file edited with PhotoLab 5 and DeepPrime NR

ISO Low, L100, L64, and Flash Photography - Part 2

Last updated:- 26th August 2023

Introduction.

What are the benefits of using ISO Low, L100, and L64, and does the camera's Dynamic Range (DR) change at anything other than its Native ISO? These and other questions initiated my journey to better understand digital cameras. I hope this article inspires you on your journey.

This article discusses the photographer's

role in achieving maximum sensor performance

How much should we know about the camera's Exposure Mix, SNR to ISO ratio, and Image Sensor? Do they improve our ability to manage the performance of the sensor? For example, does the sensor receive enough light at ISO3200, and how do we measure the light exposing the image sensor?

We know sports photographers need higher shutter speeds. For example, they will up their ISOs for higher shutter speeds in sports arenas. It's normal to have higher ISOs in good ambient light. Please take a moment to think about the following questions:

1. Do sports photographers risk having more noise in sports arenas? 
2. How do we know the image sensor received sufficient light?
3. When will you typically consider using a flash?

Any Olympus MFT camera with the f1.8 compact lenses from Olympus is a great photography solution.

The challenge editors have is collecting and sharing valuable and theoretically correct information. For example, I apply the info I discuss in my articles. The histogram, or monitoring of the sensor's saturation level, became part of the process I use to optimize my sensor's performance...

How do we measure the reflected light exposing the sensor? We know the aperture and shutter control the reflected light to the sensor. We control 3 of the exposure formula's variables on the histogram. They are the shutter speed, aperture, and ISO. Any exposure compensation adjustments change the light on the sensor with a fixed ISO and Shutter or Aperture Priority. That means the histogram shows the reflected light on the sensor if the ISO was set manually...

See this link to Part 1 of this series. Take a moment and study the illustrations in these 2 articles. They are designed to visually illustrate the information in this 2-Part series.

I am discussing the following:-

1. Introduction
2. A brief description of the digital camera
3. A brief overview of the image sensor
4. A brief description of the ISO function
5. The solution to the challenge in Part 1
6. ISO-Low, L100, L64, & Dual ISO
7. Why do we have ETTR?
8. Conclusion

Take a moment to study this illustration. It's good to understand the correct terminology.

2. A brief description of the digital camera

Each digital camera has a sensor. Some photographers consider it a mystical black box, and others as pixels and control wiring? That means the final image signal is a collection of pixel recordings or the product of an unexplained black box? Pixels typically receive highlight, midrange, and shadow information. This means most scenes consist of highlights, midrange, and shadow areas...

Varying exposure levels explain the noise from the Sony A7R IV in the image below. For example, shadow pixels are less saturated because they have less light. This means a lower SNR (signal-to-noise ratio) in the shadows. That's why we risk having more noise in midrange and shadow areas.

The Sony Full-Frame A7RIV w FE 24-70mm f2.8GM Lens - ISO3200, f7.1, 1/800 Sec. (We can explain the visible noise at ISO3200)

Digital cameras have analog and digital parts. The sensor's electronic (analog) components increase the sensor's noise floor. Some electronic components add more noise than others. This article focuses on the analog part of the camera and image signal.

The camera's digital section isn't our focus in this article because the digital image signal differs from the analog image signal. Digital noise is also treated differently by the camera...

Which analog components have more noise? The 3 components with the highest noise levels are the Image Sensor, the ISO Amplifier, and the A/D Converter. We do not control the A/D converter, but we do control the ISO and the reflected light exposing the image sensor.

Figure 3 explains the image signal pathway from the subject to the SD card. The aperture and shutter speed control the reflected light from the lens to the image sensor, and the ISO amplifies the recorded image signal from the image sensor. The following illustration explains the role of each of the main components in the image signal path.

Figure 3. (99% of photography cameras have this configuration)

Our focus is on the Sensor and ISO Amplifier because our exposure strategy impacts the SNR of the image signal. How does this happen?

1. Shutter Speeds and Aperture determine how much reflected light the sensor receives,
2. The ISO function amplifies the Image Signal plus the image sensor's noise floor.

Why do we have more noise at higher ISOs? Higher ISOs typically mean we have less reflected light on the sensor. Is it possible to control image noise? We learned that each sensor has a unique noise floor, and the ISO-to-SNR ratio influences the visibility (SNR) of the sensor's noise floor. This means experienced photographers always consider the level of luminance on the sensor.

What changes the size of the sensor's noise floor and the different noise types? For example, the sensor's noise floor is influenced by the type of sensor (Standard CMOS, Live MOS, and BSI sensors) or the number of electronic components in the sensor. See Figure 1 for a description of the noise elements in the noise floor. Also, see this video on the stacked BSI sensor in the OM-1.

Why are M43 sensors more efficient than Standard CMOS (APC) sensors? The Live MOS sensor uses one control circuit for each cluster of 4 pixels, and the Standard CMOS sensor has a separate control circuit for each pixel. This means Live MOS sensors have up to 75% fewer electronic components and are up to 75% Optically more Efficient. 

Higher Optical Efficiencies increase the Sensitivity of Live MOS sensors and the ability to capture shadow detail. A smaller noise floor means they have less noise per equivalent pixel area.

Improving the performance of the image sensor is as simple as

managing the luminance reaching the sensor...

The flow diagram in Fig. 3 highlights two camera components. Photographers should understand the noise behavior of the ISO Amplifier and the Image Sensor. Some confuse photographers by claiming some sensors have a separate A/D converter for each pixel. The flow diagram in Fig. 3 stays the same for one or more A/D converters, whereas the sensor's noise floor might increase with more A/D converters. More A/D converters simply means more electronic components plus noise.

The illustration (Fig 4) explains the SNR (Reflected-Light) versus ISO (Amplification) ratio.

Figure 4

It's always important to visualize the Reflected Light on the sensor. The above illustration shows the relationship between the ISO, image sensor, and the reflected light on the sensor. For example, a well-exposed image sensor allows for lower ISO values. This is why it's good to manually set your ISO and manage the reflected light exposing the image sensor. How do we add more reflected light to the sensor? With the aperture and shutter speed, reflectors, or a flash. These are the first steps toward better image quality and managing your image sensor's performance.

3. A short overview of the image sensor

Theoretically inclined photographers will value the articles below.

Please study the first 3 for this discussion...

• An article I wrote about DxOMark and IQ - link
• Evaluating different sensor applications - link
• Studying temporal noise and sensitivity - link
• Sensor discussion for mono cameras (PDF) - link
• Sensor discussion for color cameras (PDF) - link
• Interesting read on contrast limitation (PDF) - link

The following illustration helps us to master the digital camera and the image sensor. Each sensor has a unique photons-to-electron graph (Fig 1). Variables like AST, temporal noise, sensor gain, and DR are specific to each image sensor. Each sensor's photon-to-electrons graph is plotted with a fully saturated sensor. The photons to electrons graph are designed to assist us in planning, analyzing, examining our highlights and shadows, and determining local or global exposures. 

How do we apply local or global exposure adjustments? The Gradation function is one option, gradient ND filters are another, and a flash or LED light source is another.

Figure 1 - Each photographer should know the photons to electron graph. Study Part 1 of this series or this link.

Photographers only benefit from learning more about the image sensor and the information in this article. The info in this article improves our ability to:-

• Plan and select the right camera with an appropriate sensor
• Plan and execute technically challenging photo sessions
• Evaluate and analyze camera performance & images
• Improve their exposure and problem-solving skills

The information in this article is not intended to radically change your photography. The data was carefully selected to help you improve your knowledge of digital cameras. This article is more advanced but supports better exposure skills and higher image quality.

Figure 5.

What about the Fuji X-T4 or the Olympus EM1 III? The same information we discuss in this article applies to cameras like the Fuji X-T4 and the EM1 III. Studying the characteristics of these two cameras and using theoretical models like the photon-to-electrons conversion graph enables us to determine that both the X-T4 and the EM1 MKIII have specific strengths and are excellent tools. 

One of the most exciting differences is their image sensors, sensor sensitivity, and the noise floors of these sensors. It's new for crop sensor photographers to consider theoretical models because they've been taught to only think of sensor size, IBIS, ISO values below f5.6, and lens diffraction...

Figure 2.

How do we analyze the above image? I overlayed an example from this article onto the photons-to-electrons graph (Fig 2). The sensor was not fully saturated, the SNR was lower, and the noise increased in the shadows. This process of analyzing images helps us to develop a good feel for image sensors. What can we do to improve our image data in the shadows?

A less saturated sensor (lower SNR) and higher ISOs are the main reasons for noise. This reminds us of sensor sensitivity (image detail) and fully exposing the sensor (higher SNR). The Sony A7S III delivers good shadow detail because BSI sensors are more sensitive. Sony A7S III cameras are known for having a smaller noise floor or less noise to amplify at higher ISOs.

4. A short overview of the ISO function

The ISO function was not designed to change the gain of the sensor. The sensor's native gain is set at the factory. The ISO value is one of 5 variables calculating the camera's exposure. As seen in Fig. 3 & 4, the physical role of the ISO function is to amplify the image signal from the sensor. The image sensor is usually underexposed at higher ISOs. This ability to quickly review your camera settings and the relationship between the ISO and SNR is vital.

What is Maximum Sensor Saturation, DR, or SNR? The sensor reaches its full potential or has a fully saturated sensor, DR, and SNR when the reflected light is enough to fully expose the sensor. This is also the point at which the Photon to Electrons graph is plotted for each sensor.

"Size and capture" promoters claim "one sensor receives more light than another." This is repeated in almost every camera review. Universities teach that pixels are designed to saturate when they receive the right level of reflected light. The amount of reflected light reaching the sensor is linked to the ambient or available light and your camera settings. Photographers determine how the sensor performs and NOT the size of the image sensor...

Source: DPReview.com

Photographers decide how much reflected light exposes the sensor. How do we control the light? With the aperture and shutter speed. The key is to select an ISO for the scene and to manage the reflected light with the aperture and shutter or an external flash. Each photographer should know this. Why should we fix the ISO? We like to prevent the ISO function from changing our Exposure Mix. See this article for more about the histogram and ISO.

How did I create the following illustration? I did not change the ambient light..?

One can safely say the Exposure Mix of the camera determines the "working" Saturation and SNR of each pixel. For example, the displayed exposure on the camera will stay the same when we increase the ISO with 2 stops and decrease the reflected light by 2 stops. This means the image brightness stays the same, but the sensor receives 2EV less luminance. We basically managed the SNR to ISO ratio. The result is a less Saturated sensor with a smaller SNR. Try and plot this on the photons to electrons graph in Fig 4. This is an example of managing your Exposure Mix. What will happen to our image quality in this example? See the summary below:-

• Less reflected light means the sensor is less exposed (Aperture & shutter speed)
• That means the sensor is less saturated, and the image signal has a lower SNR
• A lower SNR with higher ISO amplification means we have more image noise
• It means less light with fewer details in the shadows and more shadow noise

You need to carefully plan your Exposure Mix. You are responsible for your image quality. A better way of determining the exposure is to start with the old exposure triangle. The next step is to know what you want and to manage your final exposure mix (ISO to SNR ratio).

Fuji X-T4 - I fully saturated the sensor (max SNR) at the native ISO with an optimum shutter speed and aperture combo.

When do we use higher ISOs? Photographers use more ISO amplification for higher shutter speeds and too little luminance to expose the sensor. See the summary below for why we need higher ISOs:-

1. With low-intensity illumination or available light and no available tripod
2. Indoor sports events, artificial lighting & high shutter speeds are needed
3. Outdoor or normal lighting conditions and higher shutter speeds (wildlife)

Does the DR of the sensor decrease at higher ISOs? No, the ISO setting does not change the available DR of the camera. The reason is the sensor's specified Dynamic Range stays the same. What does happen is the sensor is less saturated at higher ISOs. Study the exposure formula...

The Aperture, Shutter Speed, and ISO are variables in the exposure formula. They explain why the ISO is higher at lower luminance levels (Auto ISO). The exposure formula helps us to simulate and experiment with different exposure and ISO combinations (SNR to ISO ratio).

Image sensors are typically not saturated at higher ISOs. The sensor's "adjusted" DR is proportional to the saturation level of the sensor. It has nothing to do with the ISO setting because the ISO setting (amplification) is determined by the available light and the exposure mix. 

Think carefully before using any of the Auto Modes. We cannot manage our sensor performance with the ISO in Auto Mode. The reason is the ISO will change randomly in Auto ISO mode. It is only possible to control the exposure mix (SNR to ISO ratio) with the ISO in Manual Mode. 

5. The solution to the challenge in Part 1?

I asked readers to create 3 illustrations. Nobody did the challenge, which made me wonder, was it too advanced, or did I give too little information? The 3 illustrations are educational because they show the positive and negative image effects of applying the 3 practical ways of managing the image sensor's performance or the relationship between the ISO and SNR. 

Below are 3 ways of managing the performance of the sensor:-

1. Increasing or decreasing the sensor SNR with luminance (aperture and shutter Speed)
2. Amplifying or lowering your image noise (the effects of increasing ISO amplification)
3. Controlling the image sensor Saturation and SNR with an external light (using a flash)

How do these 3 methods impact the camera's image quality? A less saturated sensor means a lower SNR, less tonal data, and more visible image noise. A fully saturated sensor means good image quality.

How did I create these illustrations?

The 3 illustrations came to life when I searched for a simple answer to illustrate the benefits of managing the image sensor performance. I placed an A4-sized white paper against the wall and my older Olympus E-30 on a tripod. The illumination in the room stayed the same and was the primary light source. I created the 3 illustrations with this setup.

Why did I use my older Olympus E-30? Older cameras have more noise (noise floor) with more noise elements than newer cameras. 

5.1 Controlling the SNR of the image signal (Aperture and Shutter Speed)

This is the same as the SNR example in Figure 5.

I created the above illustration from a constant image signal amplification (ISO3200) and only controlled the luminance exposing the image sensor. The 0EV sample is 18% gray, and the rest of the 5 images vary +/- 1EV steps. This changed the reflected light intensity on the image sensor. Each of the 5 exposures changed the Saturation and SNR of the sensor. We can plot these 5 images on the photon-to-electrons graph. The final brightness of each sample was adjusted in PS.

The -2EV sample simulates an underexposed image sensor. That means sensor saturation is low at point A in Fig 1. The SNR is also smaller at -2EV and, therefore, the increased noise.

The manufacturing segment likes more information about the types of noise in the sensor. We should learn from them? For example, it's nice to have new AI noise reduction, but why not manage the visibility of your sensor's noise floor? The -2EV sample gives us a view of the different noise elements in the sensor noise floor. We know shot noise looks different from temporal noise. The +2EV sample shows the benefits of saturating the sensor.

What did we learn from this example? Apart from what I discussed, "managing" your image sensor's performance is the same as controlling the visible image noise. This means we can now make informed decisions about image quality or when buying new cameras.

What are the two most important things about the image sensor?

1. Sensor Sensitivity - This determines how image detail the sensor records
2. Sensor Noise Floor - Every image sensor comes with a unique noise floor?

5.2 The effects of ONLY using the ISO (image signal amplification) 

Figure 8.

I tested a different way of managing the image sensor. In preparation, please study Figures 3 & 4. It is critical to understand that even though the ISO is just another variable in the exposure formula, it's physically positioned between the image sensor and the A/D converter. In other words, the image sensor records the image and sends it to the ISO amplifier. We also see the effects of ISO amplification on the image sensor's noise floor.

How do we manage the image sensor with the ISO setting? Go back and study the first illustration. You will recall I kept the ISO constant for the 5 samples. That means some were brighter and others darker. I adjusted the brightness of each image (like ISO amplification) in Photoshop. Why do we increase the ISO? It is only necessary when we have too little illumination (underexposed image sensor). Like Photoshop, the ISO helps us to "correct" our final image brightness. It's critical to practice with the SNR to ISO ratio and this concept of managing your Image Sensor...

The ISO and shutter speed changed simultaneously (no increase in visible noise).

How did I create the illustration in Fig 8? I kept the luminance (aperture and shutter) constant to see if the noise would increase at higher ISOs (amplification). That means the saturation and SNR of the sensor stayed the same. This example shows the effect of amplifying the image signal and the sensor's noise floor. The ISO400 sample is correctly exposed, and the 18% gray version,

What do we learn from this illustration? This is something all photographers should know. The noise increases when we increase the ISO, right? We saw that the SNR of the sensor changes with a different exposure mix. The ISO amplifies both the image signal and the noise floor. 

Folks, we basically learned 3 things:-

1. The noise floor and the noise elements are linked to the design of the image sensor
2. Thinking and informed photographers will use a suitable sensor for the application
3. There's a tight balance between managing the SNR (Aperture & shutter) and the ISO

5.3 Using an external light source to manage the SNR

The above illustration is similar to the first. The difference is I used an LED light source to increase the illumination of the A4 paper. I then used my shutter speed to manage the sensor's saturation. I used the same ISO and controlled the luminance reaching the sensor with the shutter speed.

What do we learn from this example? Light and the ability of photographers to work with light are critical. The right level of illumination is vital for managing image sensor performance. Light determines if the image is flat or multi-dimensional. For example, anyone who says a tripod or an external light source (flash) is old-school should re-think.

6. ISO Low, L100, L64, ETTR, and Dual ISO

Most electronic components have a Linear Operating Range. The linear operating range for an image sensor is between points A and B in Fig 1. This means the photon-to-electron graph is linear and is predictable between points A and B. For example, a hundred photons will result in a fixed amount of electrons between points A and B.

The native ISO of the sensor is fixed with the sensor at full saturation. This means the DR will not increase below the native ISO of the sensor. The user's manual says the DR will decrease below the native ISO. While this is technically correct, ask yourselves, is this the only interesting information, or do these lower ISOs also help us to improve our image quality? Yes, they should because a lower ISO means less image signal amplification.

Why should we use ISO Low, L100, and L64? They offer better image quality because they use Less Image Signal Amplification. The aim of managing your ISO versus SNR ratio is to improve your sensor saturation and the SNR of the image signal. What about dynamic range? Dynamic range is a common weakness for all digital cameras. The solution is to learn how to work with the camera's dynamic range and the experience to make the right decisions for each scene. Typical options are the time of day, bracketing or HDR, Polarizer or ND filters, Log profiles, fill-in flashlights, and more...

Olympus EM5 II with Lumix 35-100mm f2.8 - ISO Low, f9.0, 6 Seconds (Done with a 1000ND filter and Live Comp).

Maria Schwartzmann used a unique example of why to use ISO64 on the EM5 MKIII and the Olympus LIVE COMP function - link (start at the 1:06 minute point).

How much less amplification do we have at L100 or L64:-

• ISO L100 is equal to ISO100 which is 1EV (Full Stop) less amplification
• ISO L64 is equal to ISO64, which is less than a full-stop ISO amplification

What is Dual ISO? Dual ISO is something we see on hybrid cameras. Dual ISO means having a second ISO amplifier parallel to the existing (default) ISO amplifier. The default ISO is calibrated at the base ISO of the sensor, and the 2nd Dual ISO is calibrated at higher ISOs like ISO800 (GH5S). The difference between increasing to ISO800 and selecting the 2nd Dual ISO800 is the first is amplified with 3 stops, and the second is set at the factory. Three stops mean a more visible increase in the sensor's noise floor. Depending on the camera, the same rules apply for the dual ISO amplifier as for the native ISO. This means the photons to electrons graph can be used for both ISO amplifiers. The only difference is the 2nd ISO will have a lower DR than the first.

7. Why would we use ETTR?

What is ETTR? It's nothing other than a method to improve the sensor's performance. For example, you can increase the exposure from 0.3EV to 1EV without clipping any highlights. Does that mean Olympus cameras are generally under-exposing the sensor? Yes, all Olympus cameras use a "safety" DR headroom. Almost all cameras set their exposure values at lower saturation levels. That's why the histogram is always a little to the left. See the illustration below.

To appreciate why Olympus cameras have a lower saturation level in Auto Mode, we need to understand the general-purpose nature of digital cameras. What is DR headroom? The camera doesn't use the full Dynamic Range range of the sensor in Auto Mode. That means it's better to use Manual Exposure Mode. It's better to manually control your Exposure Mix or ISO-to-SNR ratio.

What happens when we use ETTR? It simply means we will saturate the sensor. ETTR improves the SNR and DR while "shifting" the histogram to the right. The next step is to reset the 18% gray exposure values in WS. The benefit of using this technique is the sensor is at maximum saturation, DR, and SNR. The noise floor is less visible at both the native and higher ISOs. ETTR also improves the tonal data because the histogram shifts to the right. (Study this article at Adobe)

What if the DR quoted in camera reviews differs from the manufacturer's measurements? How do reviewers determine the DR? Do they measure the dynamic range, or do they calculate it? In other words, do they consider the DR headroom of each camera? Could we trust any DR information from camera reviewers pushing the "size and capture" theory?

What are the advantages of using older cameras? Apart from 2nd hand pricing advantage, the main benefit is more creative and artistic freedom. Older sensors are a joy when doing creative photography. If you like a camera with more creative freedom and sensor control, get an older Olympus camera. The IQ of M43 cameras like the EM1, EM-5, and E-P3 benefit most from ETTR.

Should we use ETTR at higher ISOs? We have seen that higher ISOs are used in low-light situations. In other words, the sensor is underexposed (between points A and B in Fig 1). Does that mean the DR of the sensor changed? The solution is to focus on the best exposure mix or use ETTR to get more light to the sensor. Everything we discussed in this article applies to higher ISOs. 

8. Conclusion

The "size and capture" theory cannot explain shadow noise or the differences between two 24MP full-frame sensors. Paid "size and capture" promoters will not discuss the evolution of image sensors because they cannot explain any of the improvements with the "size and capture" theory. They end up repeating the same lines they receive from their marketing managers. The info in this article is a theoretical explanation for the sensor. It helps us to answer almost any question about image sensors.

Many photographers prefer a more creative photography style. They will use their exposure settings to control the look and feel of the image. A personalized style is good because it's the artist's prerogative. This explains the popularity of cameras like the Pen F and E-P7. The info in this article supports creative artists plus those photographers asking for the best possible image quality.

Many support the idea that image editing should be a part of the image-taking experience. Olympus cameras make it possible with the Enhanced Raw Format and Workspace.

Also, see the more complex scene I discuss in this article.

Take care and God's Bless

Siegfried

You will find more information in the articles below:-

• Let's talk about ISO Low, L100, and L64 - Part 1
• The commercial "size and capture" theory - Link

Various References:-

• Equivalence theory for cross-format... - link
• Great video with Olympus photographers - link
• Interesting video discussing the OM-1 and exposure - link
• Understanding luminance for more control - link
• Great article and video on how to work with light - see the link
• Understanding camera performance Specs - link
• Fascinating presentation explaining sensors - link
• How to evaluate camera sensitivity - link  
• EMVA Overview - Imaging performance - link   
• Temporal noise reduction in CMOS sensors - link
• White Paper on the optical efficiency of the sensors - link
• The basics of the Low Pass or Anti Aliasing filter - link  
• More about the image sensor and the EMVA1288 - link 
• More about Low Pass filters and why they are used -see the link  
• A general page on consumer camera sensors from Sony - link

This is how I convert my Enhanced Raw Files?

Last updated:- 22nd January 2023

Many photographers convert and edit their raw files with the same software. PhotoLab and Lightroom are examples of converting and editing raw files with the same applications. While safe for accurate White Balance and evenly exposed raw files, converting your Olympus raw files in Workspace and editing the 16-bit Tiff in Photoshop is often a more rewarding editing strategy.

We are studying an example of converting and editing the same raw file with different applications. You should know I used the same White Balance for the various raw converters in this article. My default Color Space is typically RGB for my raw files and SRGB for the web.

Olympus EP-7 with 12-45mm f4.0 lens - Out of the camera jpeg (ISO200, f5.0, 1/100).

The above scene had more shadow detail in real life. It's easy to assume there was no reflected light from the shadows when viewing the JPEG. No reflected light means no image, no matter how hard we push the ISO. The example below is an edited version of the above JPEG. Did the camera capture or process too few color details, or will the Enhanced Raw File reveal more color information?

This is the OOC Jpeg. I increased the shadow brightness with PS.

The Enhanced Raw Format plus Workspace lets us extract more image information from the captured raw data. The key to success is the Exposure Mix we applied with the camera, the Truepic Processor, and its similarities to the Image Processor in Workspace. The Olympus Enhanced Raw Format is unique and helps us to evaluate and adjust most of our camera raw settings in Workspace.

For example, we can fine-tune the camera's exposure compensation in Workspace. That means we can verify our White Balance (18% Gray) and "Gradation" (Gamma) settings in Workspace. See the ETTR technique in the next paragraph. See this article on how to use the Gradation function.

The Gradation "High" option automatically selects the best ETTR values for your image. Think of the Olympus Gradation function as another variable in your exposure mix. You should always ask, how can I improve my image sensor's output signal, and how do I finalize my neutral gray values in Workspace? How do we reset the camera's Gradation values in Workspace? Simply select the default "Normal" option in Workspace. This will reset your image and the final tonal values to neutral gray.

Why would one use the gradation function with techniques like ETTR? We learned the image sensor does better when it is saturated. It's sometimes better to prioritize the sensor's saturation and SNR values over an accurate Neutral Gray in the camera. Think of low-light or high-contrast scenes.

It's good to prioritize Tonal Data with the camera. This is something we will review in more detail in the future. For example, how many of you worked with the Gamma function in Olympus Viewer 3? Those reading my articles can explain the Gamma function and the benefits of using ETTR. 

Also, study my article explaining the Gradation function and this article by Adobe.

It's also good to always keep a Polarizing Filter (PF) in your camera bag. Use it on your camera with the Gradation "High" option to control or cancel any reflections from water or bright surfaces. For example, why does the Spider Cube have a little chrome ball on the top of the cube?

The images below are illustrations only.

Olympus E-P7 with 12-45mm f4.0 lens - Enhanced raw file converted in Workspace (ISO200, f5.0, 1/100).

The real benefits of the Enhanced Raw Format are Step 2

The converted 16-bit Tiff files are edited in the 2nd step. It's normal for more advanced image editing techniques with more image data. Workspace (image processor) and Sensor Sensitivity (captured details) enable us to extract more image data from our Enhanced Raw Files. We know the Olympus Live MOS sensor is more sensitive than Standard CMOS sensors, and BSI sensors further improve the Optical Efficiency of the sensor. BSI sensors are more sensitive than Live MOS or Standard CMOS sensors. High-sensitivity sensors are known for their ability to capture more shadow detail.

More image data and 16-bit Tiff files enable us to apply more advanced image editing techniques, like editing parts of the image separately. The image below is an example of using different editing techniques for the shadows and the brighter parts of the photo. I upped my shadow brightness in Photoshop. The ability to divide and mask the image improves with new editing software.

It's also good to treat sensor sensitivity and image noise separately. For example, all image sensors come with a noise floor. The sensor's saturation level (exposure) and SNR are responsible for any visible image noise. Olympus gave us several options to control and manage image noise. See this excellent video. Unfortunately, the presenter did not add the Exposure Mix to his list.

Olympus E-P7 with 12-45mm f4.0 lens - Raw file converted with Photoshop 2023 - (ISO200, f5.0, 1/100).

I never use Lightroom because my preferred Adobe application is Photoshop. I like Photoshop for my raw, jpeg, and 16-bit Tiff files. Photoshop 2023 seems better than previous versions, especially with Olympus raw files. The 2023 version of the Adobe Raw Converter also improved a lot. 

Adobe said my perfectly working iMac (2014) is too old for Photoshop 2023. I decided to upgrade to a "new" Intel iMac. See the article here...

Olympus E-P7 with 12-45mm f4.0 lens - Raw file converted in PhotoLab 5 - (See the color cast on the house ).

Olympus E-P7 with 12-45mm f4.0 lens - I converted this raw file in PhotoLab 6.1 and edited the Tiff file in Photoshop.

The ClearView Plus setting is a powerful option for PhotoLab and the main difference between the above 2 images. The default value for Clearview is more aggressive, whereas mine is softer. This is also a "point-and-shoot" image and not a textbook example of optimizing the exposure mix. 

See this article for more on IQ and Exposure Mix.

Fuji X-T4 jpeg file in a similar scene. I upped the brightness in PS.

What do we learn about the Olympus EP-7?

The sensor received two different exposure levels in this example. The sensor was less saturated in the shadows with a lower SNR, less tonal data, and more visible shadow noise. The brighter areas saturated the image sensor, with less noise, more tonal data, and a higher SNR. What happens if I increase my exposure mix (shutter and aperture) with 1EV?

The available detail in the raw file means the sensor's sensitivity is good, and the low level of visible noise tells us the sensor's noise floor is relatively small. For example, I only used the "standard" noise reduction option in Workspace, the Prime setting for PL 5, and only a little noise reduction for PS.

This is the best-ever photography and lens combo from Olympus. Each Olympus enthusiast should own at least one like this!!!

The question is, why did I select casual exposure settings with no ETTR? We do not always need 102% image quality. This is important to those "creative" photographers who prefer specific results from selecting different or "creative" exposure settings (Working with different tonal levels). 

The E-P7 is an excellent street photography camera for those working with color, monochrome, and creative techniques. What are the top 5 reasons why this is the best-ever Olympus combo? How was it possible for a forum reject* like the 17mm f2.8 to reach this status? What do you think?

The original images I used for this article (I needed something for WS).

Conclusion

The images below remind us of the EM1 III's excellent image quality with something like the 17mm f1.2 pro lens. Take a moment and consider the 4 cameras in this article. Each camera offers superior image quality with specific strengths and weaknesses. The decision of which is best for you and your needs is no longer a process of evaluating image quality. The Fuji X-H2 and X-H2S are excellent examples. They use unique image sensors to offer specific strengths and benefits...

The process of converting raw files and separately editing the converted 16-bit Tiff files is the same for "normal" images. I convert my raw files in Workspace and edit them with PS or ON-1. I also started to select the jpeg option more often for my EM1 III, the E-P7, and the Fuji X-T5. I edit those jpegs in one session with ON-1. See this link.

This short article summarizes the main conclusions of my journey on image sensors. I don't wish this on anyone. Study my articles to see the effort it takes to break away from the programming effects of the "size and capture" marketing program. Why is this important? You will only master your camera if you step away from anyone promoting the size and capture theory.

Take care and God's Bless

Siegfried

* Undisclosed or paid forum promoters habitat in the negative and are not paid to be positive. - link

Walking the Dog Instagram Pictures

Fuji X-T4 with 35mm f1.4 lens - ISO3200, f3.6, 1/18, -1EV Exp comp (Provia film simulation & handheld) - Raw file converted in PL-6.

Instagram Images

This version of the image was prepped in Photoshop.

Olympus EM1 III with 17mm f1.2 lens - ISO1000, f1.2, 1/30 handheld - The amazing benefits of M43.

Olympus EM1 III with 17mm f1.2 lens - ISO1250, f1.2, 1/13 handheld - Amazing detail and M43 benefits.

Fuji X-T5 with the 23mm f1.4 lens - ISO3200, f3.6, 1/7th, -1EV comp - Jpeg OOC and handheld.