The 7 points each Digital Photographer should know

Last updated:- 3rd August 2023

Introduction.

This article reviews 7 technical points each digital photographer should know. They also explain why photographers are the creative power behind photography. These technical points can be regarded as "enablers" to improve your Image Quality. The fun or creative part of photography also improves with these 7 points. Knowledge is an integral part of our journey with digital cameras...

Olympus E400 with 25mm f2.8 lens - ISO100, f7.1, 1/160 - It's a 10MP, 4-Thirds CCD sensor. It's the OOC jpeg.

Technical and theoretical information is part of a general process of improving our camera skills. It explains how to improve our exposure skills (SNR to ISO ratio) and our ability to visualize the sensor's Saturation (performance) and SNR (noise) levels. Knowledge is always critical...

Technical information also helps us explain why Olympus used a 20MP sensor for the OM-1...

There's only one right way to discuss and study digital cameras.

Many photographers prefer a more simplified technical conversation. I listed 7 points to assist them in this learning process. It highlights only the most critical points photographers should know.

These 7 points are:

1. The exposure triangle works for analog & digital cameras.
2. Know the image signal path from the subject to the SD card.
3. How to manage the sensor's performance and the SNR ratio.
4. The 7 steps manufacturers use to manage the image sensor.
5. The basic types of noise and how to control image noise.
6. Various kinds of CMOS sensors and why the differences.
7. A basic illustration that summarizes all digital cameras.

These 3 points are also critical when we evaluate different cameras:

1. Optical differences - Always consider the differences between formats
2. Technical similarities - This article focuses on the technical similarities
3. Editing Software - We shouldn't ignore the importance of image editing

Why is the Olympus X-Z2 such an interesting digital camera in 2023?

Why do we benefit from technical discussions? Knowledge is the enabler every photographer needs to master his or her digital camera. Knowledge empowers us to manage the sensor's performance and not simply rely on size. Pixels capture Photons and not the size of the sensor's backplate. For example, did you know the Effective Pixel Area is more important than the size of the sensor? Each pixel's control wiring reduces the light-sensitive area of the pixel. This means standard CMOS sensors have a smaller Effective Pixel Area (67%) than LiveMOS (85%) or BSI CMOS (97%) sensors.

Consider the following 10 points when evaluating your next camera:

1. The focus should be on pixels because pixels capture photons
2. Fewer pixels mean a smaller noise floor and better efficiency
3. The type of sensor influences the sensor's effective pixel area
4. More resolution means smaller pixels with smaller pixel areas
5. Pixel area influences Optical Efficiency and sensor sensitivity
6. More pixels means more pixel control wiring with more noise
7. M.Zuiko Standard & Premium lenses are SMALL and excellent
8. Each sensor size has different & unique optical characteristics
9. The size of the sensor does not change its technical limitations
10. Stacked BSI sensors are known for fast sensor readout speeds

1. The Exposure Triangle

The Aperture and Shutter Speed control how much light is reaching the film strip in analog cameras. Older film cameras have a mechanical ISO (ASA) adjustment dial. The ISO synchronizes the camera's exposure "calculations" with the film's sensitivity rating. The ISO is set once for each film.

The Aperture and Shutter functions are the same for digital cameras. The sensor's final sensitivity is measured and set at the factory. In other words, it's calibrated for your digital camera. The sensor's sensitivity doesn't change once it's calibrated. The ISO's function is different for digital cameras. It amplifies the sensor's output signal and is a critical part of the exposure formula. The ISO and the Workspace Exposure Compensation functions adjust the camera's image brightness.

The ISO also amplifies the image sensor's noise floor. It's, therefore, not correct to say the ISO creates noise. All sensors have an active noise floor when the camera is on. We can influence the visibility of the sensor's noise floor (image noise) with the SNR to ISO ratio. That means our goal is to improve the sensor's saturation and the SNR by "managing" the reflected light reaching the sensor.

Olympus E30 with 14-54mm f2.8-3.5 Pro Lens - ISO100, f7.1, 1/400 - This is the OOC jpeg image

2. The image signal path from the subject to the SD card

Study this link for more information on points 2, 3, 4, and 5. The challenge was to create a basic but theoretically correct model to explain the digital camera. The secret is to exclude any technical data with no practical value. It's easy to discuss and quote useless charts and information.

Familiarize yourself with the following illustration explaining the image signal path...

Promoters distract photographers by claiming the A/D converter is part of the pixel's architecture. While correct in some cases, we know the basic flow diagram in the above illustration stays the same. One can say much about the technical details of digital cameras. The question should always be, will any new claims or information improve my photography, or is it more useless information?

3. How to manage the performance of the Image Sensor

This illustration shows how we manage the image sensor and the sensor's noise floor. A more detailed description of managing your sensor's performance is available here. (See section 5)

Photographers don't think of exposing the sensor and amplifying the image signal. The aperture and shutter speed "expose" the sensor, and the final exposure (image brightness) is set with the ISO. This concept forms the foundation for improving our image quality with M43 cameras. This is also how we manage the sensor's performance. The goal is to increase the light exposing the sensor. Increasing the reflected light on the sensor means less visible noise and better tonal data.

Assume you have a choice between ISO1250 and ISO1600. Most photographers would select ISO1600 without considering the image signal. That means the sensor received less light at ISO1600. That will reduce the sensor's saturation level and SNR. The resulting images will have less tonal data with more visible image noise. Your digital photography and exposure skills will grow in leaps and bounds as you grasp this simple concept and make it a part of your digital photography.

Olympus E420 with 18 - 180mm lens - ISO100, f6.3, 1/320 - The Enhanced Raw File was edited in Workspace.

Why should we edit our images to the correct exposures? Study the exposure formula here. Always use neutral gray (18%) exposure and WB values. This supports accurate image colors. This also means resetting your ETTR or SNR-to-ISO ratio to neutral gray in Workspace. Study this article on how to reset your camera adjustments. Always do your editing with 18% gray brightness levels. That's why you should include Workspace and the Enhanced RAW Format in your image-taking process.

4. The 7 steps manufacturers use to improve image sensors

The following illustration describes the 7 questions manufacturers ask when designing new cameras. For example, one critical aspect of selecting an appropriate sensor is Sensor Readout Speed. This impacts the camera's Silent Shutter or Rolling Shutter efficiency. Standard CMOS sensors are known for having slower readout speeds. Stacked BSI sensors solved this problem with higher sensor readout speeds. Stacked configurations are unique to Stacked BSI "CMOS type" sensors.

Study the illustration below...

5. The basic types of noise and how we control image noise

I always wish someone would ask the question when I see statements like smaller sensors have more noise. What question? The question is simply, where does image noise come from..?

Study the link in section 2 for an overview of the illustration below. Each digital photographer should master the Photons to Electrons graph in this illustration. The most important thing to learn from this illustration is sensors perform at their best when fully saturated. Our goal should always be more reflected light to saturate the sensor at each ISO. This technique is better known as ETTR. The Shutter Speed and Aperture control the light exposing the sensor. The histogram shows what's happening at the sensor with a fixed ISO. Study the exposure formula for more info...

Study these points explaining the graph:-

• The camera's aperture and shutter speed controls the light reaching the sensor.
• The sensor is fully saturated at its native ISO and with the exposure at point B.
• A fully saturated sensor means we have the highest signal-to-noise ratio (SNR).
• Cameras have a safety buffer in Auto Mode. They will not expose up to point B.
• This safety buffer results in a lower SNR and the histogram moving to the left.
• ETTR means we control the exposure. The goal is to saturate the image sensor.
• Study and understand the noise floor. Fewer photons (light) means a lower SNR.
• The graph is linear, meaning the bulk of the Tonal Data is in the mids and highs.
• The graph plus the noise summary are powerful tools for studying image sensors.
• Spend time with this illustration. It's one of the most powerful photography tools.  

Olympus E450 with the 14-42mm kit lens - ISO100, f7.1, 1/320 - My wife took this OOC jpeg image.

ETTR is a technique we use to control the sensor's SNR to ISO ratio. We can also describe this as managing the sensor's performance or saturation level. Why do we need the highest possible SNR? A fully saturated image sensor gives us the highest SNR with the least amount of visible image noise. Higher ISO values mean less light on the sensor and lower SNR values. This is why it's critical to carefully select negative exposure compensations or higher ISOs. Use the photons to electrons graph to set the best SNR to ISO ratio for your application and sensor in your camera.

It's critical to familiarize yourself with the information in this article. Don't walk away because others do. It takes practice to appreciate the benefits of the above illustration. I continue to learn new techniques with this powerful tool. These exposure techniques are especially effective with older cameras with low-sensitivity image sensors. Implementing this knowledge is as simple as the example in section 2. You will discover more solutions as you practice.

6. The various kinds of CMOS image sensors

Photographers should know the different types of CMOS sensors in digital cameras. This will help them evaluate and select the best camera for the job...

7. A basic illustration to summarize all image sensors

I always considered the absolute focus on sensor size counterproductive. The reason is Pixels capture Photons and not the size of the sensor. The information in this article is enough to improve your digital photography results. Practice regularly until you are more confident with these basic concepts. It takes effort to walk away from the oversimplified "size and capture" theory...

The sensor's Pixel area and pixel sensitivity reduce when we up the resolution. This should be general knowledge for all photographers. Instead, most photographers think it's all about cropping. Smaller pixel areas reduce the optical efficiency and ability of the pixels to resolve fine details, especially shadow detail. More pixels also add more pixel wiring (control circuits). More components increase the sensor's noise floor. So much happens at the sensor's pixel level that it's dishonest and rude to make photographers think large sensors and cropping are the most important things.

For example, why should M43 photographers be interested in a used Panasonic GH5S?

Conclusion

This article teaches photographers more about the importance of pixels while studying the camera's image sensor. We also reviewed the most critical knowledge each digital photographer should have. The article also gives a new perspective on the different variables impacting the efficiency of the Image sensor. We also studied the role photographers have in achieving good image quality. We saw how photographers manage the image and video quality they get from their cameras.

What do we need for an equivalent image sensor comparison?

• The sensors should be the same type - (Standard CMOS, BSI, or Live MOS)
• They should have similar resolutions - We can't compare a 20MP with a 40MP
• The same firmware and pixel control circuits - That means the same AST and SNR
• The effective percentage pixel area should be the same for the different sensors
• The sensor sensitivities (optical and quantum efficiencies) should be similar
• And many more...

Pixel area is the only variable changing with a theoretically equivalent comparison. Let me know when you find an example of two or more sensor sizes (cameras) with equivalent characteristics.

Best

Siegfried

Spot the difference between 12 vs 100MP images

Last Update:- 25th April 2024

Introduction.

Watch this video from Chris Hau and his team comparing the Sony A7S III and the Fuji GFX100S. Chris asked if they could see the image quality differences between these 2 cameras? Before watching the video, list the points you will use to help you find any differences between these cameras.

Which one of the following two options do you trust more? The 1st option is theoretically analyzing the results from these two cameras, and the 2nd option is the oversimplified "size and capture," which is constantly abused to promote the virtues of higher resolution and full-frame cameras.

Why is this exercise meaningful?

Some will say it's only a fun video. While light-hearted videos have a role, the impressions they leave are enough to influence the buying behavior of many. The fun part is to study the images.

How did I identify the right camera for each photo?

- Pixels capture Photons

The Sony A7S III pixel area is 386% larger than the GFX100S. Both cameras use BSI sensors. The Sony should extract more shadow details because the larger pixel areas improve sensitivity.

- Depth of Field

Chris applied the same camera settings for both cameras. This means the Fuji has a smaller DOF with more background blur. It was difficult to see any differences because the subject versus background distances influenced the results. You need to review the images carefully to see any differences. 

- Image noise

Fuji has 8.5 times (102/12) more pixels with control circuits, whereas the A7S III has only 12MP. Each control circuit adds noise to the sensor's noise floor. It's normal to see high-resolution sensors with more visible noise. For example, a similar story is the Olympus Pen F versus the A7R IV. It needed more planning to manage the visible noise (SNR) from the Sony A7R IV than my Pen F.

Study this article for more on the different types of image noise...

Conclusion

How many photographers are tricked by undisclosed promoters voicing wild claims about the roles of sensor size and resolution? Instead of studying the functional benefits of various cameras, we see those who never prepared articles or theoretical papers repeating the wildest statements...

The answer is to focus on shadow details, DOF (background blur), and shadow noise. You won't find any optical and technical "size and capture" trademarks like a full-frame look, noise-free image, better image quality, "less" lens diffraction, subject isolation, dynamic range, bokeh, or the GFX100S captures more light. Chris said he edited the photos but gave only a few details.

Here is a summary of what I found:

- First round - B is Fuji. (DOF and shadow noise)

- Second round - A is Fuji. (DOF and shadow noise)

- Third round - A is Fuji. (Mainly DOF with some loss of detail under the balconies)

- Fourth round - The left one is Fuji (Mainly DOF - study the background carefully)

- Fifth round - The right one is Fuji. (We need to see the focal point? A very tight DOF)

It was difficult to spot shadow detail differences. The tight DOF and the image editing made it difficult to analyze these images. It would be nice to see an example like the one below for each camera. See this example of editing deep shadows with an Enhanced Raw File and Workspace.

See this article analyzing the shadow details of 15 cameras.

Any thoughts

Siegfried

An example of the Sony A7R IV at ISO3200. The sensor was not fully saturated.

Additional opinions:-

- See the video from Jimmy (RED35). Is 20MP enough?

- See the 2 parts response from Joseph Ellis to the above video.

- SLR Lounge with a 90-second overview of Megapixels

- See this video from Duade Paton for an engaging overview

Enjoy Wildlife Photography with M43 Cameras

Last updated:- 24th January 2025

This article reviews the technical and optical strengths and weaknesses of different sensor sizes and why the demand for high ISOs doesn't apply to all wildlife photographers. My goal with this article is to illustrate alternative options hobby photographers could use for wildlife photography. Please study the included links for more about planning and selecting optimum weather and light conditions.

Also, study this article about wildlife photography with the Zuiko 12-200mm lens.

Olympus E-3 with the Zuiko 50-200mm f2.8-3.5. ISO160, f8, 1/125. I converted the Enhanced Raw File in Workspace.

Most full-frame promoters claim they need higher ISOs for wildlife photography. The commercial spin is that full-frame cameras are better at higher ISOs. The challenge is high ISOs are not the only option in diverse conditions or wildlife photography. For example, how much "Reflected Light" exposes the sensor at +ISO20K or an ISO amplification of 7-Stops. How many hobby photographers do pre-sunrise or post-sunset wildlife photography? Most wildlife safaris are scheduled after sunrise or before sunset. Some of the best wildlife photography opportunities are in the morning or late afternoon.

Study this article about the most likely available light at ISO6400 or higher.

E-3 with the Zuiko 28mm f2.8 lens. ISO160, f2.8, 1/100. I edited this Low-light Raw file with PL-5 and DeepPrime NR.

This article reviews the technical and optical aspects of digital cameras. For example, there are many ways to evaluate M43 cameras and improve your wildlife photography. It's crucial to master concepts like Sensor Saturation and SNR if you plan to capture wild animals in poor lighting conditions.

Olympus E-3 with Zuiko 50-200mm f2.8-3.5 lens. ISO160, f8, 1/640. I edited the Enhanced Raw file in Workspace.

"Olympus wildlife photographers are cheating..."

It's always fun to see a full-frame photographer's reaction to Pro-Capture. Some say Pro-Capture is an unfair advantage (cheating). I also disagree with those claiming that crop sensors have more noise as it always points to the commercial "size and capture" theory. Noise is NOT a function of sensor size because every sensor has a noise floor with Read and Shot noise. The characteristics of this noise floor are technical and a function of sensor design. I also think a classic "portrait" look with a blurred background applies to specific wildlife environments like waterholes or open fields. The challenge most wildlife photographers face is showcasing the natural habitat of wild animals.

My family and I left South Africa 20 years ago, and will always be part of Africa. This is a typical bushveld scene.

How does a theoretical explanation benefit photographers?

Each photographer should start with these 6 points:-

• All lenses have diffraction, and this is something photographers manage.
• Sensors are linear devices, and they record less tonal data at lower SNRs
• A saturated image sensor has a higher SNR with less visible image noise
• The 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 housing them

Olympus E-3 with the Zuiko 50 - 200mm f2.8 - 3.5 lens - ISO160, f3.5, 1/3200 - The Raw file was converted in PhotoLab 5

We know M43 photographers enjoy a 2EV Depth of Field (DOF) advantage plus the size and weight of M43 lenses are lower. The summary below is designed for M43 wildlife photographers:-

• M43 photographers can safely use apertures between f4,5 and f7,1 (and higher)
• It's OK to target shutter speeds between 1/400 and 1/4000 (landscape to action)
• Always confirm your exposure settings. (start with: 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 E-3 with the Zuiko 50-200mm f2,8-f4 Pro lens. ISO160, f4, 1/2000. I converted the raw file with PhotoLab 5.

The above scene showcases the animal's natural habitat. They are experts at hiding and being one with nature. They are seldom in open spaces in the bushveld or Kruger National Park. Wild animals will only enter open spaces when they need water. I prefer the bushveld areas over the danger associated with open drinking spaces. That's why I don't do portrait-style wildlife photography with blurred backgrounds. The above image represents a more natural look for wildlife photographers. 

E-3 with the Zuiko 50-200mm f2.8-35 lens. The Enhanced Raw File was converted in Workspace.

Andrew Goodall is one of my favorite wildlife photographers. This video shows his 2023 photo summary with excellent wildlife photos. It's a good idea to make notes of his camera settings.

Most game drives are done in poor to good daylight conditions. Waterholes are very popular. Talk to your local ranger about photography spots and what you like to see. List the animals you want to photograph while they are at these waterholes. Discuss your lighting preferences and having the sun behind you. Always ask for info about sunrise and sunset safari drives or other opportunities. Another exciting destination for wildlife photography is the Etosha National Park in Namibia.

Olympus E-3 with 50-200mm f2.8-3.5 lens. ISO160, 1/4000, f3.5, -0.7EV (PhotoLab 5)

Which M43 cameras are best for Wildlife Photography?

The best M43 wildlife photography camera is the one you keep with you. I purposely uploaded these images of my older Olympus E3 (10MP). Wildlife photographers don't need "forum-approved" cameras, the latest and greatest cameras, or those with the best reviews for wildlife photography. 

Olympus E-3 and 50 - 200mm f2.8 - 3.5 Zuiko lens. ISO160, f3.5, 1/320. I converted the raw file with Workspace.

The Olympus E3 has no AI Subject Recognition or Eye Detection. It was launched with the quickest AF lock-on time in 2007. While most photographers enjoy the benefits of technology and new autofocus algorithms, it does not need to be a deal breaker for experienced wildlife photographers.

Olympus E-3 with 50-200mm f2.8-f3.5 lens. ISO160, 1/2000, f3. I converted the raw in PhotoLab 5. 

Conclusion

Olympus has an excellent range of professional equipment. Pro lenses are designed for the highest levels of image quality,, image details, weather sealing, and fast apertures. These extreme levels of performance are only necessary when doing professional wildlife photography. Plan your photo sessions... 

Standard and Premium Zuiko lenses are more than enough for most hobby photographers. They have excellent image quality. While they are slower lenses they are good for starting wildlife photography. I decided to focus on three affordable solutions for those interested in wildlife photography.

Olympus E-3 with 50-200mm f2.8-3.5 lens. ISO160, f2.8, 1/640. Handheld and I converted the Raw file in PhotoLab 5.

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...

Olympus E-3 with the Zuiko 50-200mm f2.8-3.5 lens. ISO160, f8, 1/160. I converted the Enhanced Raw File in Workspace.

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

Olympus E-3 with 50-200mm f2,8-3,5 lens. ISO160, f3.5, 1/500. Converted 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)

E-3 with Zuiko 50-200mm f2.8-3.5 lens. ISO160, f3.5, 1/1600, -0.3EV. I converted the enhanced raw file in Workspace.

These are more cost-effective lenses for beginners and semi-advanced photographers. They offer excellent image quality with cameras like the EM10 II/III, EM5 II/III, EM1 I/II/III, and the OM-1.

Smaller Bush Lodges offer 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 more casual nature, birding, and wildlife photography.

E-3 with the Zuiko 50 - 200mm f2.8 to f3.5 lens - ISO160, f3.5, 1/500 - The Enhanced Raw File was converted in Workspace.

Which secondhand Olympus cameras are best for wildlife photography?

• The EM1 II is a great wildlife camera. They are affordable and have 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 was blown away by this excellent camera.

Olympus E-3 with the Zuiko 14-54mm f2.8-3.5 lens. ISO160, f9, 1/125. The Enhanced Raw File was converted in Workspace.

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 add-on Grip, the Zuiko 75-300mm, or the Zuiko 12-200mm lens
3. The older EM5 II with the 14-150mm f4-f5.6 II lens is an excellent combination
4. The Pen F or the E-P7 with the 18mm f1.8 and the 14-150mm f4-5.6 II lens

Olympus E-3 with 50-200mm f2.8-3.5 lens. ISO 160, f3.5, 1/2000. Raw file converted 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.

Olympus E-3 with the Zuiko 14-54mm f2.8-3.5 lens. ISO160, f4.5, 1/400. I converted the Enhanced Raw File in Workspace.

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 in Africa. Finally, nothing beats the love for nature, enthusiasm, patience, and practice with your Olympus cameras.

It was fun editing these RAW files of my older Olympus E3. It doesn't take much to say this is a great camera when going through the E3 images. 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 more about the ISO-to-SNR ratio. I wish every photographer gets the chance to master these basics...

Take care...

Siegfried

Olympus E-3 with 25mm f2.8 lens. ISO160, f3.5, 1/320. Raw file converted with PhotoLab 5 and DeepPrime NR