A few casual photos from my Olympus Pen EP-7

Last Updated: 2nd February 2026

Those things I always considered important became irrelevant the more I studied digital photography and Olympus cameras. For example, does the OM-3 improve my image quality, or is knowledge more important? How much would a new camera or the perfect exposure mix (SNR-to-ISO ratio) improve my photography? Knowledge and experience can be considered more important, as they let us manage the 2 EV difference between pro-level and budget sensors. One option increases the dependence on equipment, and the other is an enabler for more diverse conditions and applications.

While it's important to recognize the role of knowledge and the technical variables mentioned in the above paragraph, it's most likely the simplicity, creativity, and excellence of the E-P7 that encourage hobby and creative photographers to always improve their creativity and photography skills.

Pen EP-7 with 75mm f1.8 - ISO250, f2.0, 1/160 - Raw edited with WS - Pop ART filter adjusted + soft focus. 

It's good to separately evaluate the camera's technical and optical aspects. That means considering more than dynamic range, noise, and sensor size. The next step is the optical effects created by the aperture, shutter, and the lens. A basic evaluation of IQ should also include shadows, midrange, and highlight data. For example, why do some 24MP sensors capture more shadow and midrange data than other? A common challenge all digital cameras share is reliable shadow information.

The critical part of studying digital cameras is credible product information and staying focused on the fun aspects of digital photography, image editing, and the camera. For example, always keep your camera with you. It's a simple measure of a healthy passion for photography. It's sometimes difficult, but people appreciate discretion, plus nothing is as rewarding as sharing your images.

Olympus E-450 enhanced raw file converted in Workspace (Tonal curve, Vivid Picture Mode, and soft focus effect with time of day and DOF).

I recently bought a used Olympus E-3 in excellent condition for only $70. I still have vivid memories of the fun I had with my E-3 and photography from 2008 to 2010. I was stunned by the image quality of this nearly 20-year-old camera while reviewing the images from my "new" Olympus E-3. For example, I tested fifteen digital cameras from 2006 to 2025 to identify any image quality differences. I couldn't find enough or any significant differences to support the various social media claims.

It's interesting to follow modern image editing trends. Each software upgrade seems to offer more AI masking and features to manage sensor weaknesses like dynamic range and noise. It's fascinating how many of these became a remedy for the lack of digital photography know-how. Also interesting is the rapid growth of color profiles, presets, and LUTs supporting a unique photography style.

This is the most exciting configuration for the Olympus PEN EP-7. The 17mm f2.8 lens is fantastic...

The Olympus Pen EP-7 is good at capturing shadow details and small enough to keep with me. I like the illustrated E-P7 configurations consisting of the camera with the M.Zuiko 17mm f/2.8, the 17mm f/1.8, and the VF-1 Optical Viewfinder. The M.Zuiko 17mm f2.8 offers lots of "attitude" and is always on my EP-7. I also own a popular black & gray Olympus shoulder bag for my Olympus Pen F and EP-7. The M.Zuiko 17mm f/2.8 lens is great at creating natural 3D-looking results.

Many photographers link this "3D look" to the sensor. Do you support this notion that the sensor is responsible for almost everything associated with image quality? In other words, should we rely on the sensor or a combination of creativity, composition, time of day, and shadows? What about a "sum of parts" approach that includes the camera, lens, image processor, and Workspace?

The combination of Workspace, the Enhanced Raw Format, and the camera improves our results by replicating our camera settings in Workspace or by applying our experience with Workspace to select the right camera settings for general or creative situations. Always practice this unique photography style because it's an integral part of creativity with Olympus cameras and Workspace.

You will find my overview/review of the Pen EP-7 here.

The simplified version of the EP-7 menu is designed to focus on photography. As much as 80% of the E-P7, Pen F, OM-3, and Workspace features support creative photography? For example, some use tonal adjustments like highlights, midtones, and shadows to tweak their Color Profiles and ART filters. Tonal adjustments are also used to finalize exposure and the gamma curve in Workspace. Did you know that these are the only cameras that allow us target individual colors in the camera?

For more about Workspace and the Enhanced Raw Format, study this article.

How many of you tried the new ART filter options of the E-P7, Workspace, and cameras like the OM-3 or E-M10 IV? Workspace also lets us apply these ART filter options to other Olympus cameras. It's a huge enabler for those tweaking their ART filters and a game changer for those using their cameras or Workspace to prepare the final image. See these ART profiles and my E-P7 images below.

I recently changed from Photoshop to Affinity Photo 2. The similarities between what I discuss in my articles and Affinity Photo are fascinating. I find concepts like working with luminance, color, tonal, and exposure adjustments similar to the terminology found in Affinity. It's completely different from the mainstream view of measuring the efficiency of complex electronic components by their physical size or "recovering" highlights and shadows with Lightroom's highlights and shadows sliders. Affinity Photo is a joy for those wanting to apply their digital photography and camera know-how.

Why does social media advice or the "recovering" of highlights and shadows limit our understanding of digital cameras? The sensor is not the only variable responsible for image quality or the only reason for highlight and shadow clipping. See the illustration below for a better way to evaluate cameras like the E-P7, or why Olympus opted for a powerful but more user-friendly Pen E-P7.

See this article discussing the 8 variables impacting your exposure mix.

Example: Select manual mode with ISO800 and an aperture of f/4 on your camera. Use the shutter to set the right exposure. Adjust the ISO up and down and monitor the display for clipping. Does clipping mean the sensor has too little dynamic range? No, the above diagram shows there is more to digital cameras than the sensor. Every photographer should know why the camera clipped.

See this article for more about image sensors...

The photos below are basic samples of the flexibility we have with the E-P7 while creating interesting photos and short videos. I would much rather have an upgraded version of this amazing camera than a Pen F II to complement my OM System OM-3 in 2026. Imagine a metal finish and the Pen F viewfinder. It would be great to see an entry-level OM System E-P7 and E-M10 IV in 2026.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Color Creator 9:0.

EP-7 with 12-50mm f3.5-6.3 - ISO200, f6.3, 1/60 - DxO PhotoPack Generic Fuji Provia filter.

Olympus EP-7 w 17mm f2.8 lens - ISO400, f5.6, 1/80 - Raw edited in WS - Partial Color ART Filter

The above image is an interesting example. I used the Partial Color ART filter twice and combined the 2 results in Photoshop. I applied the Soft Focus Effect in the ART filter and adjusted the intensity with the Clarity and Dehaze sliders. I used a Color Filter in Workspace and duplicated the background layer in Photoshop to add a Soft Light Blending effect. It is possible to edit or adjust the intensity (opacity) of each step. I used DxO FilmPack to add a frame to the image.

Pen EP-7 w 17mm f2.8 lens - ISO250, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter w Soft Focus.

Pen EP-7 w 17mm f1.8 lens - ISO200, f6.3, 1/250 - Raw edited in WS - Pop ART II Filter

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/400 - Raw edited in WS - MonoChrome Profile.

Pen EP-7 w 17mm f1.8 lens - ISO200, f1.8, 1/250 - Raw edited in Workspace - Vintage ART filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO60, f6.3, 1/200 - Raw edited in WS - My own FujiFilm Velvia 100 Color Profile.

Pen EP-7 with 17mm f2.8 lens - ISO200, f8.0, 1/640, -1.3EV - Raw edited in WS - MonoChrome Profile + Grain.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f8.0, 1/400 - Raw edited in WS - Light Tone ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f5.6, 1/1250 - Raw edited in WS - Vintage ART Filter w Soft Focus.

Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Grainy Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Color Creator 2:-1 - DXO PhotoPack Frame.

Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Diorama ART Filter.

This image was taken in South Africa. The EP-7 is a great little camera...

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