How to create unique portrait photos?

Last Updated:- 22nd July 2023

Writing this article, I thought about the importance of background blur and how often we need it. For example, I never saw a movie with every scene against a creamy background blur. We always see good subject separation with enough background information to define the setting or location. Most of the portrait photos in this article were taken with my older Olympus EM-1 MKI and the EM-5 II. These two cameras continue to deliver excellent results for 2023.

I was interested to see what's possible with M43 cameras and if it's correct to say we can't create a background blur or subject separation with M43 cameras? For example, I used the Color Creator and Color Filters with light and a slight foreground blur to guide the viewer into the following scene. My 11-year-old EM1 MKI with the Enhanced Raw Format and Workspace made this possible.

The original EM1 MKI with the 45-175mm Lumix lens. ISO250, f5.6, 1/200 - Enhanced Raw File edited in WS.

Some questions, techniques, or lenses I used:-

1. Did I edit my subjects and the backgrounds separately?
2. Did I focus more on the f1.8 or f1.2 lenses from Olympus?
3. Do I prefer M43 macro, fixed focal length, or zoom lenses?
4. Do I use Standard, Premium, or Pro Zuiko lenses, and which ones?
5. Do these images look more like the results of a Lumix or Leica lens?
6. Which is more critical, the camera-to-subject distance or the background?

Hint:- I used a different lens each day we walked the dog. Before you read my image descriptions, take a moment and guess how I planned and took each image and what lens I used...

The EM1 with 12-200mm lens - ISO640, f6.3, 1/320, FL 200. I edited the jpeg file with ON1.

I prefer landscape, flower, street or city, and product photography. My wife agreed to be my model for our daily walks. You are welcome to guess what she said after each portrait photo..:-)

My advice to M43 photographers is to plan and grow your portrait experience. Keep notes of your camera settings or the lenses you used, any scene specifics, and the optimum "blur" distances from your subject to the background. Experiment with background types and describe those that work for your camera/lens combination. Each portrait shoot should be a fun event. Portrait shoots take planning, talking, and specific scene and camera settings. Portrait images tell stories with different surroundings, backgrounds, and a unique portrait focus...

How NOT to do portrait photography...

The Vlogger or YouTube Look. (FL=12mm).

How often does one see this "YouTube look" from vloggers with the wrong lens? Why don't salespeople advise their clients? A focal length of 25mm or less is best for vlogging. The ideal Prime Lenses for this article were the 25mm f1.4, 45mm f1.8, and 75mm f1.8 lenses. The 12-200mm, 45-175mm, 35-100mm f2.8, and 40-150mm Pro f2.8 lenses were also great for portrait photos.

The next step is selecting the Shutter Speed and Aperture. The goal is to freeze any movements with portrait photography. The best option is Manual Mode. Start with lower aperture values and target shutter speeds of 1/400 or higher. Fix the ISO and monitor the SNR to ISO ratio or shadow noise. A shutter speed of 1/400 works for Shutter Priority. (Difficult to manage sensor saturation)

The E-P3 with 75mm f1.8 lens - ISO200, f5.6, 1/200 - Edited with ON1.

Consider these points when you are doing portrait photography:-

• The distance between your subject and the background is important
• The photographer's distance from the subject is unique for each lens
• Each lens has an optimum distance from the subject & the background
• Carefully prepare and select your portrait locations and backgrounds
• Select the right focal length and move up and close to your subject
• Don't hesitate to use higher ISOs to keep your shutter speed above 1/300
• Use large apertures, soft light, and the right time of day (morning/afternoon)
• Kit lenses like the Lumix 45-175mm or Olympus 40-150mm work well
• Try fixed focal length lenses 25mm, 45mm, 75mm @ f1.2, f1.4, or f1.8
• See this page from OM-System explaining a background blur and bokeh
• Follow me on my Instagram page and learn more about my daily photos
• See this article I wrote about wildlife photography and background info

EM1 III with the amazing 40-150mm f2.8 Pro lens. ISO200, f2.8, 1/20, FL125. I used 2 Rotolight Neo 1s + Tin Foil to create this bokeh...

The tiny sensor of the Fuji Finepix FX600EXR

Another great project with my grandson and his Fuji compact...

Here is a short summary of the lenses I used:-

• The Olympus 12-200mm lens. This lens does well with a background blur or bokeh.
• The Olympus 75 - 300mm f4.8-6.7 lens. This is a unique lens when applied creatively.
• The Panasonic 45-175mm lens. A fantastic lens for creating a creamy background blur.
• The Panasonic 35-100mm f2.8. Expect excellent IQ & results from this 70-200mm f2.8.
• The Olympus 40-150mm f2.8 Pro lens. The ultimate M32 lens for creative backgrounds.
• The Olympus 12-45mm f4.0 Pro lens. My favorite. It's fantastic for subject separation.
• The Olympus 75mm f1.8. Top IQ & perfect for subject separation and background blur.
• The Panasonic 25mm f1.4 Leica lens. Super fast & great subject separation with top IQ.
• The Olympus 17mm f1.2 Pro lens. Fantastic lens but not a good choice for portrait blur.

Portrait Image - Day 1.

EM-5 II with Lumix 45-175mm lens - ISO200, f5.6, 1/320, FL=175mm. Raw file converted and edited with WS.

Day 2.

EM-1 with 12-200mm lens - ISO320, f6.3, 1/320, FL=137mm. Enhanced Raw File converted and edited with WS.

Day 3.

Olympus EM-5 II with 75mm f1.8 lens - ISO200, f1.8, 1/800. Camera jpeg converted to BW & edited with WS.

Day 4.

Olympus EM1 with the Lumix 35-100mm f2.8 lens - ISO400, f2.8, 1/200, FL = 100mm - (Not the best background).

Day 5.

Olympus EM-1 with Lumix 45-175mm lens - ISO100, f5.6, 1/80, FL=136mm. (Awesome, small, fast, internal zoom)

Day 6

EM1 III with Leica 25mm f1.4 lens - ISO200, f1.4, 1/2000. Raw converted and edited with WS. (Stunning lens)

Day 7

EM1 MKI with the 45-175mm lens. ISO640, f5.6, 1/400 - I converted and edited the Enhanced Raw File with WS.

Day 8

EM1 with 17mm f1.2 Pro lens - ISO100, f6.3, 1/100 - Raw converted & edited in WS - Excellent subject separation.

A friend of mine asked if we could do a few portrait photos of him. I used my EM1 III with the 75mm f1.8 and the 12-45mm f4.0 Pro lens. I like the AI mask function of Photoshop because it lets me edit the background and subject separately. I noticed Workspace is slower on my older iMac after the recent V2.2 upgrade. I did a factory reset on my iMac and re-installed V2.1.1 of Workspace.

See my Workspace Software update page for more information.

Applications like PhotoLab 5, ON1 2023.5, Workspace V1.5 or 2.11, Viewer 3, Photoshop 2022, PS Elements, Final Cut Pro, Luminar 4, and others work well on my older iMac. I am working on an article to discuss different PC options, photo editing options, and trends like AI... 

This is an example of a complete edit in WS. I used the Monochrome Profile tool. I also used an ETTR of +1EV.

I converted and edited my friend's portrait photos with Workspace. Olympus cameras and Workspace use the same image processing. The difference in using Workspace is advanced AI noise reduction, plus "Olympus" colors with the same image quality technology as your Olympus camera. The edited IQ differences can be significant between Workspace and editors like Photoshop or ON1.

Day 9

Olympus EM-1 III with 75mm f1.8 lens - ISO800, f1.8, 1/5000. (Creative and informative background)

EM1 III with 12-45mm Pro - ISO400, f6.3, 1/1000, FL 40 (Informative background, subject separation, movie look).

EM1 III with 12-45mm f4.4 Pro Lens - ISO800, f7.1, 1/320, FL36mm - ETTR of +0.7EV, raw done in WS.

Olympus EM1 III with 12-45mm f1.4 Pro lens - ISO400, f6.3, 1/100, FL50. (The background is part of the story)

Conclusion

As illustrated in this article, there is no such thing as some cameras cannot do this or that. Some are only better at specific applications. It's all about perspective and planning. For example, many photographers are overwhelmed by the shallow Depth of Field (DOF) of full-frame cameras and others with the native (deeper) DOF of Micro Four Thirds cameras. My advice is to ignore full-frame advocates and simply take a step closer to your subject and use the right lens for M43 photography...

Whether you do weddings or sporting events, each portrait photo tells a story. Blurred backgrounds are used with weddings to place the focus on the subject, whereas wildlife and sports photography benefit from having background information. See this video about wildlife photography in Botswana and how the photographers applied the techniques discussed in this article. Also, see this article.

One of the strong points of Olympus cameras is creative photography. Olympus specializes in features like the Color Creator, LIVE Composite, LIVE Time, ART filters, and the option to tweak the camera's Tone (Gamma) Curve. Olympus also created a fantastic range of "creative" M43 lenses. The only thing standing between you and your creative photography are those you listen to...

EM1 III with 75-300mm MZuiko lens - ISO200, f5.6, 1/200, FL150 - Enhanced Raw File converted/edited in WS + Color Creator (2:0) & Tone Curves.

This is an example of using the lens and background information to create a bokeh effect. The light shining through the trees in the background made it possible to create this lovely bokeh. I used the same technique on another image with my 45mm f1.8 MZuiko lens to create a bokeh. Study the descriptions for more information about the differences between these images...

Raw file converted and edited with Photoshop. The subject and background were separately converted with PS.

Random Images...

EM1 MKI with 12-200mm lens - ISO200, f6.3, 1/320, FL200 - Raw converted and edited with WS (Color Creator)

Should we use Olympus Pro or F1.2 lenses:-

• The Olympus Pro lenses are prime lenses with exceptional image quality.
• Olympus Pro lenses are fast lenses that make more applications possible.
• Their capturing of fine details, color, and image sharpness is unmatched...
• F1.2 primes are excellent. The 25mm and 45mm are great portrait lenses.
• The IQ differences between Zuiko Standard, Prime, and Pro lenses are tiny.
• Weather sealing and ruggedness are critical differences for Zuiko lenses.
• M43 lenses are application sensitive. Find & use the right lens for the job.

Have you ever wondered why those pushing M43 lens diffraction, dynamic range, or image noise promote the Olympus 12-100 f4.0 Pro Lens? Did you see the size and weight of this lens? These forums, reviewers, and "friendly" experts (promoters) should not be on anyone's radar list...

Here is a summary of the photography styles I used:-

• One with background information. The background is part of your storytelling.
• One with good subject separation. Focus on the subject with background info.
• Creating a creamy background blur. An atmosphere and popular wedding look.
• Creating a creamy bokeh background. Very creative and specific image look.
• Background blur, bokeh, and subject separation are techniques to tell a story...

I am so excited about the techniques we discussed in this article that it will not surprise me if this article benefits my own photography. Thinking about Lensbaby lenses, I asked myself if the above photography styles were the first step that inspired the creation of Lensbaby lenses?

EM5 II with the 45mm f1.8 lens - Enhanced Raw File converted & edited (Color Creator & Color Filter) in WS.

The most important thing about this article is the creative aspects of background blur, bokeh, or subject isolation. I will be using these lenses and techniques more in my own photography. 

The above image and the one below are the same scene. 

They are different and tell different stories... 

EM5 II with the 45mm f1.8 lens - ISO640, f14.0, 1/100 - Enhanced Raw File converted & edited in WS.

EM1 with 17mm f1.2 Pro lens - ISO100, f1.2, 1/800 - F1.2 Pro lenses offer a narrow DOF - All in WS + Color Creator.

Olympus EM-5 II with 45mm f1.8 lens - ISO100, f1.8, 1/1250 - Raw file edited with PhotoLab 6.

EM1 with Lumix 45-175mm PZ lens - ISO100, f5.6, 1/200, FL 175 - Enhanced Raw converted in WS and edited with ON1.

Original EM1 with 75mm f1.8 lens - ISO200, f1.8, 1/1250 - Converted in WS and edited with ON1.

Original EM1 with 75mm f1.8 - ISO640, f5.6, 1/160 - This image is leaning towards a bokeh.

EM1 MKI with 12-200mm lens - ISO320, f6.3, 1/320, FL200 - Raw converted and edited in WS. (Color Creator & Color Filters)

EM1 MKI with 12-200mm lens - ISO200, f6.3, 1/320, FL200 - Raw converted and edited with WS. (Color Creator & Color Filter)

How to use the Olympus Gradation Function?

 Last Update:- 27th November 2024

1. Introduction

The Olympus composite, stacking, and computational features are highly regarded by those using them. Unfortunately, many Olympus photographers will not experience the benefits of computational photography or the extended benefits of High-Resolution Imaging and the Gradation function. It's surprising to see such a high level of counter-marketing programs and filters in 2024.

It only takes a little to understand why the previous Olympus Engineering Team became a clear industry leader. For example, the original Olympus EM-5 from 2012 offered a 5-axis IBIS solution for both stills and video. Canon and Nikon were designing and selling DSLR cameras like the 60D, 5D3, D800, and D5200 when Olympus introduced its first OM-D E-M5 with new Creative Color options.

Olympus EP-7 with the 45mm f1.8 lens, Gradation = "Auto." These Enhanced Raw Files were converted and edited in Workspace.

We reviewed the importance of saturating the sensor or increasing the SNR. For example, how do we add more reflected light onto the image sensor? Should one increase the ISO, use a flash, or use the Aperture/Shutter? We discussed ISO amplification and the role of the Aperture and Shutter. We will apply this know-how while learning more about Olympus cameras and the Gradation function.

TIP: View the images on a large screen and study the descriptions...

EM1 III with the 12 - 45mm f4.0 Pro lens - ISO200, f5.6, 1/1.16Sec, +0.7EV - The focus stacked OOC image was edited in Workspace.

My wife bought the flowers, and I created a small studio with my Olympus EM1 III, tripod, diffuser, and Rotolight Neo 2. Did you know the Gradation function varies your camera's exposure settings? For example, try the 4 Gradation options and see how they change your Auto Exposure settings. 

A focus-stacked ISO3200 example. I used 4 (bracketed) Enhanced Raw Files and applied the AI noise filter before stacking them in Workspace.

We will discuss the following:

1. Introduction
2. Why is the Gradation High option interesting for ETTR?
3. The three reasons why photographers use ETTR in 2023
4. Practical discussion on using ETTR with Olympus cameras
5. A brief overview of noise and the Olympus Noise Filter...
6. Conclusion (See my thoughts about the EM1 III and XT-5)

The Pen F and 17mm f1.8 lens (Edited version). I selected Gradation High in my Pen F and Normal to "color grade" the Enhanced Raw File.

2. Why is the Gradation HIGH option interesting for ETTR?

The Gradation function has four unique tone curves (Normal, Auto, Low, and High). The EM1 III user manual shows that these Gradation options make tiny adjustments to the camera's tones. See the EM1 III user manual (any Olympus M43 manual) for a description of each Gradation option.

I have been using the Gradation function more frequently in the past year. For example, we can use the Auto option while editing an image (raw + jpeg) with Olympus cameras or Workspace. I also use the Highlights, Midtones, and Shadow sliders to fine-tune the camera's Tone Curve. It's also possible to simulate these "camera" settings in Workspace. In a previous article, I said the graduation function should be great for ETTR. This article explores the Gradation "High" option for ETTR.

I often experience the WOW factor as I learn more about the Olympus computational functions. One can compare the Gradation "High" option with a V-Log profile and the "Normal" option to the Counter profile. I tested the "High" option with my EM1 III and applied the Counter profile with the Enhanced Raw File and Workspace. That means it's possible to apply ETTR without much effort.

Why do I adjust my final image brightness with the mid-tone slider? Because it does not change the Neutral Gray setting. Neutral Gray (18%) means the camera's colors are accurate. The exposure compensation slider adjusts the camera's Neutral Gray values. (Ref. the Zone System) That's why we treat our exposure and mid-tone settings separately in the camera or Workspace. Does this also apply to ETTR? Yes, we typically correct our ETTR settings with the exposure compensation slider.

Did Olympus change or improve the Gradation function (Tone Curves) over the past 10 years? They said they did with the EM-5 launch documents. I didn't verify this for more recent cameras...

The unedited OOC jpeg of the above image with the Gradation option set to High. I used the Gradation function for ETTR.

3. The three reasons for using ETTR in 2023

Here are the 3 main reasons for using ETTR:-

1. Cameras do not saturate the sensor in Auto Exposure mode
1. The reason is a built-in DR safety margin for Auto users...
2. These safety margins impact your shadow details & noise
3. ETTR enables photographers to saturate the image sensor
4. How did I learn this? Knowledge and an unfiltered mindset
2. ETTR helps us to improve the sensor's Signal to Noise ratio (SNR)
1. The visibility of the sensor's noise floor increases at lower SNRs
2. Upping the SNR means the sensor's noise floor becomes less visible
3. ETTR is especially effective for the shadow areas of an image
3. ETTR improves our tonal data in the shadow areas of the image
1. Sensors are linear devices with less tonal data in the shadows
2. ETTR shifts the tone curves to the right to record more data

See this article about exposure, gamma curves, and tonal data...

4. Practical discussion about ETTR and Olympus

The Gradation function is one of the several computational functions from Olympus and a powerful option for ETTR. The HIGH option automatically saturates the sensor without clipping the highlights (EM5 Press Release). That means Workspace, the Enhanced Raw Format, and the Gradation High option help us to increase our SNR, saturate the sensor, and shift the camera's histogram to the right. We reset (counter) the HIGH option with the NORMAL Gradation option in Workspace. 

The converted 16-bit Tiff file from Workspace will have a higher SNR, more tonal data, a regular image look, and more flexibility when editing the converted 16-bit Tiff file in Photoshop.

Here are a few practical Tips:

• Our goal is more light on the sensor (camera settings, time of day, and flash)
• It's critical to be clear about the ISO's role versus the Aperture/Shutter Speed.
• Use a fixed ISO value to prevent the camera from amplifying the image signal
• Never disregard the importance of using a flash to add more light to the sensor
• It's a good idea to use the camera's White Balance. (Not critical for ETTR)
• It helps to create a flat profile with Highlights/Shadows for Gradation High...
• Experiment with your Histogram Settings and use the Histogram with ETTR.

Olympus Pen F with 45mm f1.8 lens. ISO1600, f7.1, 1/8 Sec. Converted and "color graded" in Workspace, no noise reduction.

Experiment with the Gradation High and Highlight/Shadows functions to create your unique "ETTR" camera profiles. A flat Tone Curve means negative Highlight values and positive Shadow values. (Try Highlights -3 and Shadows +4). Always use the same principle of having a Tone Curve in the camera and a "Color Profile" for Workspace and the Enhanced Raw File. "Color grading" Olympus Tone Curves do not mean opposite values like one typically applies with V-Log Profiles. It simply means returning the camera's settings to their default state. The Enhanced Raw File lets us reset our image to Neutral Gray in Workspace. It takes practice because it's not always necessary to "reset" our camera settings in WS. The best option is to master these basics and to experiment with Workspace. 

Raw Converters use a fixed Gamma curve (profile) to adjust the sensor's linear data. The older Olympus editor Viewer 3, had a basic Gamma option to vary the profile's shadows, midrange, and highlights. Consider the Gradation and Highlights/Shadow settings as the camera's "Post-Gamma" or Tone Curve options. It's also possible to Correct or use them as Pre-Gamma adjustments.

The Gradation and highlight/shadow options let us use flat tone curves or correct the image look. Always ask yourself, how can I get more light on my sensor, and what should my final image (jpeg) look like? This is why we use the aperture/shutter or exposure compensation to control our exposure (reflected light) and tonal adjustments to adjust the image's final look in the camera or Workspace. The Enhanced Raw Format allows us to access most of our camera (image) settings in Workspace.

The Olympus FL300R needs almost no space.

Does the Counter Profile affect any of the ETTR benefits? No, the recording happens in the camera, and any ETTR benefits become part of the final image "DNA". Workspace does not add or remove light from the sensor. This is why it's possible to simulate the ETTR technique in Workspace. 

A "Counter Profile" means we reset our camera settings in Workspace. That means we will change the camera settings, Shadows +5 and Highlight -5 (flat tone curve), to zeros in Workspace. Experiment by applying "ETTR" with the camera and Counter the Tone Curve in Workspace. Take the time to practice using your camera's Exposure Meter and the feedback from the Histogram. It's not necessary to use a counter profile. Develop your own preferences and editing style for Workspace.

Did the noise disappear in the above illustration? No, the size of the sensor's noise floor is the same. We only improved the SNR, which means the noise floor is less visible. Is it correct when reviewers say smaller sensors have more noise? Absolutely not... ALL sensors have a noise floor...

The Olympus XZ-2 is a great compact camera. I prefer to get my info from manufacturers and don't trust camera reviewers or photography forum experts. My research and knowledge of digital cameras are also a great help. Discovering the XZ-2 and the satisfaction of using great oldies like the XZ-1 and the XZ-2 is exhilarating. The XZ-2 has a 12MP BSI sensor, and the XZ-1 has a 10 MP CCD sensor.

Olympus Stylus XZ-2 - ISO100, f4.0, 1/500. The Gradation Auto option of the camera, and color-graded in Workspace.

The EP-3 is another excellent camera and oldie. I took my EP-3 with the 12-50mm lens for our late afternoon walk with the dog. The XZ-2 and the EP-3 are compatible with the VF-4 Electronic View Finder. The Olympus XZ-2 was set to Auto Gradation for the above image.

I typically apply 2-steps to convert and edit my Enhanced Raw Files. I select and edit my camera settings in Workspace for step 1, and the focus is specific or advanced image editing in step 2. Advanced editing can be done in Workspace or something like Photoshop. For example, I used the Gradation Auto option, Highlights/Shadows, and Tone Curves to edit the image below. We only need Step 1 or the converted 16-bit Tiff file to post-process the image in Photoshop.

The EP-3 and the 12-50mm lens - ISO3200, f5.2, 1/80 - I converted the Enhanced Raw File with WS (Noise Filter = Low) and tweaked it in Photoshop.

The EP3 raw file was converted with PhotoLab 5, and I used DeepPrime (AI Noise Filter). The final image was edited with Photoshop.

5. A brief overview of image noise and the Olympus Noise Filter

Photographers should experiment more with the Olympus Noise Filter. The main reason newer camera models have less noise is the smaller noise floor of modern sensors, more sensitive sensors, and more processing power like the Pen EP-3 versus the EM1 III. DxO PhotoLab became my benchmark for rating the Noise Filter of Olympus cameras and Workspace. The PhotoLab "Prime" option is enough for my general photography needs with my PEN, OMD, and XZ-2. I only use DeepPrime in extreme cases. One can cancel the Olympus Noise Filter in favor of the PhotoLab noise filter...

Olympus cameras and Workspace have excellent Noise Filters. The Workspace AI noise filter is enough for most situations with the EM1 II/III or the OM-1. The default Olympus Noise Filter setting is "Normal." I prefer the "Low" option for my Olympus cameras. One can always use the Enhanced Raw Format to change to the Standard or High options in Workspace. I rarely use the additional two sliders in the Workspace. Study this article for more on image noise and image sensors.

I used the Gradation "Auto" and Noise Filter "Low" options for the image below. I was surprised by the excellent DR and IQ of my Pen EP-3 and the XZ-2. The Pen EP-3 is a surprisingly good camera when all the marketing filters are removed. For example, always study the Official News Releases of Olympus if you like to learn more about Olympus cameras. See the Stylus XZ-2 News Release.

The reason for less shadow noise (image below) must be the small noise floor of the XZ-2, plus the SNR was high at ISO100. Shadow Noise, or the visibility of the noise floor, increases at ISO800. The size of the sensor is irrelevant when I use my camera. I am only thinking of the available light at the sensor, any Tone Curves settings I prefer, and optimizing the SNR of my image signal...

Olympus XZ-2 - ISO100, f4.0, 1/400 - ND filter ON.

6. Conclusion

Marketers mislead photographers with statements like "Workspace is just another raw converter." Why shouldn't we compare Workspace, Lightroom, ON1, and Capture One to Workspace? Because these Raw Converters cannot simulate your Olympus camera settings. It's not the first time Marketers used false information to distract photographers. Micro Four Third cameras were some of the most filtered products in 2023. How many photographers are familiar with the Color and Creative Strategy from Olympus and how they showed this strategy in the E30, EM5 MKII, and Pen F?

Folks, we don't need ETTR to get good results with M43 cameras. Knowledge gives us an overview of photography. Knowledge empowers photographers to improve their image quality, and knowledge is a light placing a different perspective on the misleading filters of global marketers.

I am working on an article about the EM1 III and the Fuji XT-5. Should one compare only IQ, or should one do more? For example, while focus-stacking with my EM1 III, I tried computational ETTR techniques including processing an 80MP High-resolution image in the camera. 

Considering the unique level of computational flexibility of the Olympus EM1 III, Workspace, and the Enhanced Raw Format, how does one plan a balanced and factual comparison between the EM1 III and something like the Fuji XT-5? Both these cameras are good while radically different...

For more on Creative Color and Computational Photography, see this article.

Take care and God's Bless

Best

Siegfried

A few casual images while walking the dog...

The images below are from my Pen EP-3 and the 75mm f1.8. I didn't do anything special with my camera settings. The images benefited from converting the Enhanced Raw Files in Workspace. I used the adjustments below on my raw files before exporting them as 16-bit Tiff files to Photoshop.

Older 12MP sensors have more noise (larger noise floor) than newer M43 sensors. Skies were known for more visible noise from these older cameras. The Noise Filter "Low" option was enough to clean the skies without losing details. It helps to manage older sensors with the SNR-to-ISO ratio.

These are my final post-processing steps in Photoshop:-

• I cropped the image for Instagram (4:5 ratio)
• I added a little contrast with Curves in Photoshop
• I sharpened with the High Pass Filter (setting = 1.6)
• Using a "Soft Light" blending mode on a duplicated layer

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/800.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/200.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/800.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/1000.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/500.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/160.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/640.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/160.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f14, 1/80.

Olympus EP-3 and 75mm f1.8 lens - ISO200, f5.6, 1/400 (Action shot).

A few casual photos from my Olympus Pen EP-7

 Last Updated:- 14th April 2023

Everything changed as I uncovered more technical information about digital cameras. I spent months searching and studying credible information about cameras. Did my image quality benefit from this learning curve? For example, how much does a new camera or fine-tuning my exposure with the SNR to ISO ratio improve my results for 2023? My first reaction is not much. The correct answer is not a fixed improvement because most image quality improvements vary from case to case.

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

We also need to consider the technical aspects of image quality. A basic description of image quality should always include things like shadow, midrange, and highlight data. The next step is optical variables like DOF, focusing, and composition. Most cameras capture good tonal data in the midrange and highlight areas. A common challenge is capturing good shadow data.

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

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

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

The Olympus PEN EP-7 captures good shadow details and is small enough to always keep with you. I like the above configuration with the 17mm f2.8 or f1.8 Zuiko lenses and the Olympus Optical Viewfinder. The Zuiko 17mm f2.8 lens oozes creativity and is almost always on my Pen EP-7. I have an older black/gray Olympus shoulder bag for my Olympus Pen F or EP-7. The 17mm f2.8 is also one of a few M43 lenses that are excellent for recording 3D-looking images.

Many photographers like a "3D look" or a sense of depth in their images? How does one create this 3D look? With the lens, composition, background blur, leading lines, or shadows?

The combination of Workspace, the Enhanced Raw Format, and Olympus cameras benefit the look and feel of our final images. It also improves the photographer's creative process while editing with WS or photographing the "edited" version of the photo with the camera. Practice these skills in the camera and Workspace. This process should be an integral part of your photography.

The EP-7 has just enough features to stay focussed on photography. How many knew that 90% of the Pen F or EP-7 and Workspace settings are the same? For example, the highlights and shadows function is part of the camera's exposure calculation. Neutral gray changes as we set the highlights, shadows, or exposure compensation. We can adjust or correct this in the camera or Workspace.

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

How many of you saw the ART filter upgrades in Workspace or some of the newer Olympus cameras, like the EP-7? They are great for tweaking these final ART filter effects. Target primary or secondary colors or any opposite combinations in the scene. See the examples below and study this link.

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 of each step. I used DxO FilmPack to select a frame for 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.

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 f2.8 lens - ISO200, f6.3, 1/250 - Raw edited in Workspace - 1020 Color Profile.

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, f6.3, 1/1000 - Raw edited in WS - MonoChrome Profile + Color 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, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/320 - Raw edited in WS - Pop ART Filter w Soft Focus. (Nice 3D Look)

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...