Let's talk about OM-System and the OM-1 II

Last update:- 14th February 2024

Introduction. 

How do you rate the past 3 years with OM-System? For example, do you expect to find engine parts in your Doctor's consulting room or a history lesson in math class? What do you like to see as you walk through the offices at OM-System? How will it compare to the previous Imaging Activity at Olympus? Do you expect to see a proper R&D facility or a marketing office with a software expert? Considering more recent deliverables from camera manufacturers like FujiFilm, Sony, Nikon, and Canon, did your perception or experience with OM-System improve over the past 12 months? 

Did AI create a reasonable reality of a typical marketing area for cameras..?

I have no insider knowledge of OM-System or whether their employees prefer Olympus or OM-System cameras. For example, should we view OM-System as a global distributor of photography gear, or do they share similar technology KPIs as the previous Imaging Business from Olympus? Shouldn't that be our top-of-mind awareness as we navigate and review different camera manufacturers?

Why the OM-System label on Olympus cameras?

It's uncomfortable to think of future OM-System products and questions like, why is your priority an OMS label on Olympus products? Didn't you negotiate brand equity and transitions from short-, mid-, to long-term? I also question the 25% premium customers will incur when selling their cameras for the new OM-1 II. Does the new price plus 25% justify the OM1 II  "improvements" and new label?

It reminds me of the iconic Olympus 12-40mm and 40-150mm f2.8 Pro lenses. It took one decision from OM-System to lose 20-30% of their resale value. Why not a simple strategy of adding a premium to the improved dust and splashproof ratings of any "new" OM-System lens?

I also smiled when I saw the new 150 to 600mm f5.6-6.3 lens. Social media experts couldn't wait to remind us the full-frame version of this Sigma lens is 45% less expensive. Why is the OM-System version more expensive? Did OM-System request a series of obstructions inside the OM-System version because M43 lenses deliver less light to the sensor than FF lenses?😏

Imagine the counter-marketing dollars that will be spent on this beauty...

Why don't FF promoters see the benefits? Because it's time to have a new conversation about sensor formats. Olympus photographers with the EM1 II/III, EM1X, and OM-1s get an equivalent reach of 1200mm at f6.3 and up to 8.5EV camera/lens stabilization. Compare this to FF cameras and the ISOs plus cropping in post-processing to capture wildlife and birds at 1200mm. Chances are they will have more image noise with less than 20MP after cropping to an equivalent M43 view...

Fuji is a strong competitor with a long history in photography...

What about the OM-System 9-18mm f4.0-5.6 MZuiko lens? It's good to inject new life into this lens. However, there must be a reason why it received so much social media criticism. Full-frame competitors seemed OK with a Micro Four Thirds offer for bird and wildlife photography. Loyal "size and capture" consumers seem happy to spend thousands on huge FF lenses. Was the risk higher if FF consumers compared the tiny 9-18mm M43 lens to its full-frame relatives? How does one recognize a fanboy or promoter? They ALL repeat phrases with "cropping" or "it's a Kit" lens...

Study the types of lens elements Olympus used for this absolute gem...

One of the risks OM-System created for themselves is focusing on BIF and wildlife photography. While the unique benefits of M43 lenses are undisputed, will the OM-1 II be as popular amongst influencers, events, street, travel, landscape, and portrait photographers? What if OM-System did the anticipated firmware update on the Olympus OM-1? Wouldn't that free the R&D team to design a new OM-System camera? These are valid concerns because traditional Olympus photographers increasingly purchase full-frame cameras. That simply means OM-System gave other brands a new opportunity...

Graduated ND filters and the new OM-1 II. Those working with gradients in Photoshop will appreciate my concern. Photographers do not want dark mountain tops, trees, buildings, or strange halos. This is why Adobe created better ways of separating critical objects from the sky. Why not GND filters or bracketing, advanced AI selections, and the final image in the OM-1 or Workspace?

Olympus EM1 III with 12-45mm f4.0 lens - ISO200, f6.3, 1/640. I applied my new Fuji Color Chrome effect to the Enhanced Raw File.

What should a real OM-System camera be like?

OM-System should assume a leading role and exit the sensor size and autofocus cycle. The new OMS camera should be like the Pen F, EP-7, and Fuji X100V with a new User Interface and a 20MP high-sensitivity BSI MOS sensor with the smallest M43 noise floor. The target segment should be street, family, travel, event, and hobby photographers. Focus on creative AI features versus AF AI. The new camera's AF system should be a clever derivative of the EM1 III (OM-5) AF system.

See this article for more about a new OM-System camera.

The focus should be creativity, flexibility, IQ, profiles, and a Workspace App for tablets and Mobiles. Study the unique needs of the target segment with new AI, computational, and creative features. You will be surprised to see which of my articles are most popular and by what margin...

Olympus EM1 II with 12-40mm f2.8 Pro lens - ISO200, f7.1, 1/800. My new Fuji Color and FX-Blue Chrome effect with the Enhanced Raw Format.

There is no reason why OM-System shouldn't excel...

Olympus EM-1 MKI with 60mm f2.8 macro lens - ISO100, f10, 1/50. My new Fuji Color Chrome effect with the Enhanced Raw Format.

Let's talk history and compare older OMDs to the OM-1 II.

Most of the features manufacturers rave about are unused statistics for most. For example, many don't care if the camera does 120fps with C-AF or videos in 6K 10-bit for more than 30 minutes. These features are designed for niche applications like Pro Photographers and Videographers working for corporate clients, and only promoters like reviewers track a bird's eye hiding in the trees.

I posted many examples in the past showcasing the high levels of unique and creative freedoms older OM-D and PEN cameras offer street, hobby, and travel photographers in 2024. Study examples like the EM10 II and EM1 MKI with the Enhanced Raw Format. That's not even mentioning the EM5 II or Pen-F. Just imagine the loyalty OM-System would enjoy if they celebrated the Olympus label.

With the correct pricing, which of the Professional cameras below matches your needs for 2024..?

Olympus OM-D E-M1 MK3

I never considered the MKIII being influenced to think it's a minor upgrade. I used my MKII for +4 years before reacting to a special on the MKIII. What a surprise when I learned just how different it was. It felt like Olympus guarded this BIG surprise until the improved features and IQ of the EM1 III.

I updated this OM-System slide for the Olympus EM1 III.

Olympus OM-1

The Olympus OM-1 was the final building block or R&D achievement of the Olympus Imaging Business. It reminds me of top designs like the EM5s, EM1, EM1 II/III, and Pen-F. It takes an effort to go back in time and remind myself how Canon and Nikon continued to sell DSLRs. Olympus assumed a winning role, became a trendsetter, and achieved fascinating mirrorless results in a DLSR world. 

It took large sums of counter-marketing dollars to smear these achievements.

OM-System used these slides during the launch of the Olympus OM-1 in 2023.

OM-System OM-1 MKII

Should one expect similar functional and IQ gains as the previous EM1 III? You won't find honest and factual information about the OM-1 II on social media. For example, I am so grateful that all my Oly lenses are "good copies."😏 According to social media experts, having 3 Olympus lenses without one flawed copy is nearly impossible. Guess what the first OM-1 II AF videos will be like? 

This is one of the best video presentations on the OM-1 II. It's in German but worth watching for our English-speaking friends because the presenter used OM-System slides. The OM-1 II improvements might be similar to the Olympus EM1 III in overall performance and Image Quality..?

This is the slide OM-System Ambassadors used for the OM-1 II launch.

Conclusion

One of the more troubling changes in the past years is dishonest marketing. This has become one of the most rewarding research activities for those seeking accurate info. How should one navigate this landscape? The best option is to question social media statements, learn more about the subject, and create personal references like testing products before buying them.

All the above slides are copies except for the EM1 III slide. I created it for this article. This OM-1 II presentation (12:15) from OMS showed 7EV IBIS for the OM-1. The original slide from 2023 shows 8EV. Here is the original 2023 OM-System video (3.54). The OM-1 specs confirmed 8EV...

Best Regards

Siegfried

Color and FX-Blue Chrome effect for Olympus

Last Updated:- 3rd February 2024

Introduction

The illustration below is a screen copy of my Workspace "before/after" display. Study the links below for a description of the Fuji Color and FX-Blue Chrome effects. I combined these descriptions into one beta Chrome Effect for Olympus. The Fuji Color Chrome effects work for all Fuji "Picture Modes," whereas the Olympus Color Adjust function only works in the "Natural" Picture Mode. The final Fuji Chrome Series for Olympus cameras could be 3 chrome profiles. (Color, blue, and combined)

This short article discusses two processes for developing a new profile. Why are the Olympus EP-7 and Pen-F so different? All digital cameras work with global adjustments like saturation, color filters, and White Balance. They require a good understanding of working with Opposite Colors. For example, the Olympus Color Creator and White Balance functions use analogous and/or opposite colors. Only the Color Adjust Tool of Workspace, Pen-F, and EP-7 target specific colors in the image.

Fujifilm Color-Chrome Effect - link

Fujifilm FX-Blue Chrome Effect - link

Olympus Pen F with beta Chrome profile.

Fuji Color and FX-Blue Chrome Effect - Version 1

The unique aspect of this Chrome effect is the steps I used to create the profile. The profile is my reaction to the two articles discussing the Fuji Color and FX-Blue Chrome effects. This can happen to anyone seeing or learning something new and like to express that experience in a color profile.

Download this 1st beta "Color and FX-Blue Chrome.oes" profile. Use the Batch tool in Workspace to open and save the profile on your PC. See my Workspace How-to page for more...

Fuji Color and FX-Blue Chrome Profile.

The Fuji Color plus FX-Blue Chrome Profile is designed for the Pen-F, EP-7, and compatible OMDs. For example, I successfully tried the profile on Raw files from my EM10 II and the original EM-1. Only the Pen F and EP-7 have the Color Adjust function and will accept Color Profiles. The alternative is to apply these profiles via the Enhanced Raw Format to compatible Pen and OMD cameras.

Study the above profile data (summary) and the steps below to tweak the profile:

1. Use the "Auto" option for your WB, or select a unique WB. (Critical step) 
2. Use Exposure compensation and the histogram to set the ISO brightness.
3. Use the different Tone Adjustments to tweak the camera's Gamma Curve.
4. Some Olympus cameras, like the EM10 II, do not have a Midtones Slider.
5. Use Exposure Compensation for those cameras lacking a Midtones Slider.
6. The Auto or Normal Gradation option varies your final Tone Curve shape.

Olympus EM1 II with 18mm f1.8 lens - ISO200, f7.1, 1/800. The Enhanced Raw File was converted with the Fuji Chrome Profile.

The Tonal Adjustments in the Camera and Workspace are Gradation, Shadows/Midtones/Highlights, and the Workspace Tone Curve option. Why do we need ISO brightness (EC) and separate Tonal Data Adjustments? Workspace and the camera's Gamma Curve convert the sensor's linear raw data to a human (JPEG) format. Tonal adjustments let us tweak the Gamma Curve in the camera and Workspace. Exposure Compensation (ISO) is part of the camera's Exposure Formula.

Study this article for more on exposure compensation, image brightness, and ISO.

Olympus E-P7 with 17mm f1.8 lens - ISO100, f8.0, 1/200. The enhanced Raw File was converted with the Fuji Chrome Profile.

Use the Color Adjust tool of Workspace to tweak the Chrome effect. I studied the above information from Fuji and converted +/-50 Enhanced Raw Files to create this Beta profile. What is the next step? The next version of the Fuji Color Chrome effect will be based on Color Cards and Test Images from my Fuji XT-5 and the Olympus Pen-F. Mail me your feedback or input for the 2nd version.

An example of using multiple steps. 1. Tweak the Natural Picture Mode. 2. Tweak the Color Style. 3. Image jpeg adjustments.

One could also use multiple steps to create a unique image look. This is a more advanced option because the different steps happen simultaneously. We can add another level with the Luminance and Hue options of the Color Adjust tool. The Pen F and EP-7 do not have these options. The first step is global adjustments (opposite colors), and the second is specific colors. (Adjust Color Function)

For example:

1. Tweak the Picture Mode via Color Filters and the White Balance.
2. Tweak the colors in the Color Style with the Adjust Color function.
3. Jpeg adjustments like Contrast, Saturation, Clarity, Dehaze, and Sharpness. 

Olympus Pen-F with the 9-18mm f4-5.6 lens - ISO200, f4.5, 1/1250 - Version 2 of the Color Chrome effect.

Fuji Color and FX-Blue Chrome Effect - Version 2

I used a "controlled" studio, standard camera settings, and Color Cards. Both cameras were in Manual Mode, with the XT-5 at ISO125 and the Pen F at ISO200. That meant I needed to correct the ISO brightness of the XT-5's raw sample in Fuji's X Raw Studio. I exported the different raw images as 16-bit Tiffs. That meant the color samples were ready for Workspace and the Adjust Color tool.

I used these 16-bit samples in the "Compare Multiple Images" display of Workspace. This enabled me to copy the XT-5 "chrome effect" and transfer it to the Pen F color card. The illustration below shows the original and the new Adjust Color Style for my Fuji Color and FX-Blue Chrome effect. 

You are welcome to download the new version here. - link

What is the main difference between these profiles? The Color Cards allowed me to create a more accurate version of the Fuji Color and FX-Blue Chrome effect. Only the Adjust Color tool has the new Color Style values. None of the other functions were used to create the new Color Style. This allowed me to use default values for the remaining Camera and Workspace settings. Verify that only the Adjust Color tool was adjusted before you continue to edit the profile in Workspace.

The previous version of the Fuji Chrome Profile was created from the information I found. The profile consisted of a combination of the Adjust Color function and other image settings. As can be seen, this method is not necessarily incorrect. It's simply a creative reaction to general information. The second method is more reliable because I used a different Color Card for each camera.

The new Fuji Color and FX-Blue Chrome effect has a specific Color Style. We only need the color style to apply the new profile. Any other image tweaks, like Tonal Adjustments, are unique to the scene. This makes the new profile very unique. It lets users develop a basic step-by-step process for using the profile and editing images with the new Fuji Color and FX-Blue Chrome effect.

Olympus OM10 II with 17mm f1.8 lens - ISO200, f3.2, 1/2500. Workspace with Version 2 of the Fuji Chrome effect.

More info on the Fuji V2 Chrome Effect? The final profile is not only more accurate, but it is also more user-friendly. How could that be? Workspace has become my default raw converter and editor in the past two years. Workspace and Photoshop cover +95% of my editing needs. I export my converted 16-bit Tiff files to Photoshop. Like everything, the more we use it, the more we learn.

The new profile highlights one of the main differences between Olympus and other brands. Almost all brands use global adjustments, whereas Workspace, the Pen-f, and the E-P7 allow us to adjust global and targetted colors. Targeted colors are unique for Workspace, Pen-F, and the EP-7. What makes it different is that the camera's Adjust Color Style is part of the Enhanced Raw Format.

Olympus Pen-F with 17mm f1.8 and the new Fuji Color Chrome effect.

It's critical to master the main difference between targeted and global settings. The Color Creator is an example of using Global Settings. The Color Creator, White Balance, and Color Filters change the selected and opposite colors. Color profiles created with Global Adjustments need additional steps, like tweaking the Image jpeg Settings. Targeted color profiles are only done in the Adjust Color tool. The resulting configuration defines the new Color Style. That means more freedom to edit and tweak the remaining image (scene) settings because the Color Style stays fixed.

How to use the new Fuji Color Chrome Profile? The first step is studying the above chart. The next step is downloading the new profile. Save it in your Workspace profile folder.

Do the following steps to open and edit your Fuji Color Chrome effect in Workspace:

• Open any Pen-F or EM1 Raw file and select the "Load Batch Processing file" option.
• View the camera settings in Workspace. You will see only the Adjust Color was used.
• The Adjust Color settings show the Color Style. That means you have the right profile.
• Study the above chart for tips to tweak and edit your image. Apply small adjustments.
• You can apply the following editing steps in Workspace:-
• Focus on the critical Raw settings like (ISO) Exposure Compensation and WB.
• The next step is to tweak the Gamma Curve with different Tonal Adjustments.
• The final step is typical Jpeg Image Adjustments and the Noise Filter selection.
• Adjust the Fuji Color Chrome effect (Weak/Strong) with the Adjust Color function.

Olympus Pen-F with 9-18mm F4 lens - ISO200, f4, 1/1000. The Pen-F with the Fuji Color and FX-Blue Chrome effect.

Everyone should try the color samples below to create a Fuji Color Chrome effect. For example, I only used saturation with the Adjust Color function. You could add Hue and Luminance adjustments for a more accurate profile. I used saturation adjustments in Workspace because I wanted the new Fuji Color Chrome Profile ready for my Olympus Pen-F and the EP-7.

Conclusion

The next step is taking a few images with my Fuji XT-5 and Olympus Pen-F. This is the best way to test the new Fuji Color and FX-Blue Chrome effect for Olympus. The challenge is the winter season, with poor conditions and cold photo walks. That means my final testing will wait a while...

Best Regards

Siegfried

Olympus EP-7 with 17mm f2.8 lens - ISO200, f5, 1/200. The EP-7 image with the Fuji Color and FX-Blue Chrome effect.

Use these Color Samples and Workspace to create your Chrome Profile.

The 4 things that will improve your Image Quality

Last update:- 23rd July 2024

Introduction.

Several social media presenters started 2024 listing new photography essentials. While having good intentions, it's always sad to see popular influencers making information mistakes.

This inspired me to discuss a new ISO technique plus the following Essentials:

1. "Focus" on the subject, and don't let the background or DR distract you.
2. Exposure Triangle - Replace "ISO Sensitivity" with "Image Brightness."
3. Ignore all "size and capture" theorists explaining image sensors/cameras.
4. Knowledge and experience are critical aspects of digital photography.

EM1 III w Lumix 35-100mm f2.8 - ISO200 (400), f8, 1/640. ISO400 plus ETTR (+1EV) gave me a +/-2EV brightness variation. See the article.

Imagine you are photographing blue hour or nighttime scenes, and it was possible to lower your image brightness just enough to reveal more detail in highlight areas like street lights, lamps, shop windows, and restaurants without affecting your image quality. How did I capture the images below? I used a new technique that controls the sensor separately from the ISO. That means I independently manage my sensor's performance (saturation level) from the ISO (image brightness).

Figure 1.

1. Focus on the subject, and don't let the background distract you

I am a keen follower of the Danish photographer Thorsten Overgaard. I like his work, enthusiasm for Leica cameras, and passion for photography. Thorsten introduced 4 new Essentials to improve your photography in 2024. Many presenters and photographers think the digital camera's ISO function is similar to film cameras. See Thorsten's video for more about focussing on the subject...

Your digital camera's ISO function does not change the sensor's sensitivity!

2. Remove ISO Sensitivity from the Exposure Triangle

The best way to think of the ISO function is to view it as an in-camera brightness slider. The image sensor and ISO amplifier are separate components. The sensor's sensitivity is measured and set at the factory. This is a once-off and permanent adjustment that prepares the image sensor for use with digital cameras. The ISO function simply amplifies the image signal from the sensor or pixel...

See this article for more information.

Why should the "Digital Exposure Triangle" be different? Because it should reflect what's happening inside the camera. This knowledge helps us to manage the sensor's performance separately from the ISO (image brightness). The full-frame "size and capture" theory plus "ISO sensitivity" limits us from focussing on the sensor's performance. For example, the "size and capture" theory and a lower DR at higher ISOs are incorrectly used to discourage photographers from using ETTR. 

This article reviews the benefits of knowing it's possible to separately manage the sensor's saturation from the ISO. This knowledge makes a huge difference in how we apply our digital cameras...

See this video discussing more advanced exposure techniques...

EM5 II & 7-14mm f2.8 lens - ISO800, f2.8, 1/250. The Advanced Raw File was converted in WS. The new ISO technique will benefit this photo...

The information below applies to all digital cameras:

1. The Shutter and Aperture are responsible for exposing the sensor.
2. The ISO function only amplifies the image signal from the sensor.
3. Keep in mind the ISO is part of the camera's exposure calculation.

An example of incorrect information...

Source: dpreview.com - Olympus Camedia C-50 review (pre "size and capture" days)

Consider this when you use the Digital Exposure Triangle:

• Reflected light (Shutter Speed and Aperture) controls the sensor's saturation level.
• More reflected light saturates the sensor. This improves the SNR, which decreases noise.
• Less reflected light decreases Saturation/SNR. A smaller SNR means more visible noise.
• Study the Photons to Electrons conversion graph in one of my previous articles - link.

EM1 MKI & 12mm f2 lens - ISO1250, f2.0, 1/25. The Enhanced Raw File converted in WS. These scenes benefitted from the new ISO technique.

3. Avoid any "size and capture" theorists explaining digital cameras

Please study the 2 images in Figure 1. The image on the left is a JPEG from my EM5 II, and the one on the right is a converted raw file. These images are an expression of understanding the digital camera and Workspace. They were not created with AI, computational photography, a LUT, or advanced image editing. Photographers in Group A will typically say the EM5 II's dynamic range is too small, and those in Group B will seek new information to improve their knowledge and technique?

What did we learn from "size and capture" promoters? They sell the "fact" that digital photography is better with bigger sensors. Some of the deliverables are dynamic range, background blur, image quality, image noise, and details. These "size and capture" theorists never differentiate between the photographer's experience or the camera's optical and technical characteristics...

Olympus EM5 II & 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/500. The new ISO technique lets us control any highlights in the above scene.

4. Knowledge and experience are critical aspects of digital photography

Study this article discussing the benefits of having knowledge...

What information is necessary to discuss the photos in Figure 1? Image quality is proportional to the sensor's saturation and image brightness is adjusted with the ISO, Gamma Curve, and Exposure Compensation in the Camera and WS. The EM5 II is known for its good IQ and the sensor's small noise floor. The DxOMark Low-Light ISO rating defines acceptable and good image quality.

It's critical to take a new look at digital cameras. A saturated sensor enables us to manage our image brightness in the camera (ISO) and/or Workspace (EC). We can adjust the camera's Tone Curve with the Gradation function, Highlights/Midtones/Shadows sliders, and/or the Tone Curve in Workspace. Why do we need a new ISO Technique? Because the new technique is based on the design principles of digital cameras and not random "size and capture" marketing theories. For example, a saturated sensor means a higher Dynamic Range (better image quality) and SNR (less visible noise)...

How do we apply the new ISO technique?

1. This technique benefits from the Enhanced Raw Format and Workspace.
2. The Enhanced Raw Format is the link between the ISO and Workspace.
3. Evaluate the quality of the reflected light and set the ISO to 400 or 800.
4. Use the histogram to expose the sensor (Aperture & shutter speed).
5. The histogram follows the sensor's saturation level with a fixed ISO.
6. Lower the ISO" in 1/3EV intervals to manage" any clipping highlights.
7. Finalize your image brightness in WS (EC) and export a 16-bit Tiff file.
8. The final step is to tweak the exported 16-bit Tiff file in Photoshop.

EC = Exposure Compensation.

Olympus E620 w 12-60mm f2.8 Lens - ISO100, f8.0, 1Sec. 3 AE bracketed raw files were converted and edited (HDR) in Photoshop.

Is there another way of creating Photo B? Yes, I used the above method to illustrate the relationship between the camera's sensor and ISO function. Some will say the EM5 II is ISO Invariant. Folks, the "size and capture" and "ISO Invariance" theories are marketing programs. Those pushing them cannot explain why we have image noise, a noise floor, and why all sensors are not "ISO Invariant."

It's possible to manage the sensor's performance when we know that clipping highlights are not always linked to a smaller dynamic range. For example, the sensor might be perfectly exposed (saturated), while the ISO setting (image brightness) is responsible for clipping the highlights...

The following steps explain how I created Image B:

1. I used Image A to create a ref auto exposure of ISO200, f4.0, 1/25 for the EM5 II.
2. The DxOMark "Low Light" Sports rating showed I could vary the ISO with 2-stops.
3. That means I could adjust the "highlights" when I start with ISO800, f4, and 1/100.
4. I used ISO200, f4, and 1/80th in M-Mode. (No clipping & sensor @ 20% ETTR).
5. I corrected the image brightness (Image B) in WS with Exposure Comp & Tonal adj.

Olympus E410 w 14-42mm lens - ISO400, f13, 13 Sec. The highlights and general IQ of the E-410 will benefit from this ISO technique.

It takes time to visualize and create new techniques. It improves our ability to problem-solve Olympus Cameras and Workspace. For example, the concept that ALL sensors have a noise floor underlines this new ISO technique. It's possible to control clipping highlights with an optimally exposed sensor. The Enhanced Raw Format enables us to finalize our ISO value in the camera and/or WS.

Here is another method to create Photo B (Fig. 1). Olympus cameras automatically vary the sensor's saturation level with AE Bracketing. That means the camera doesn't change the ISO in AE bracketing mode. Use ISO800 and the "2f 1.0EV" bracketing option to take 2 photos. Manually take another image at ISO200 (-2EV) and the 20% ETTR aperture and shutter values. Do the final image brightness and Gamma Curve adjustments in Workspace and export the image in a 16-bit Tiff format.

Olympus EM5 II w 7-14mm f2.8 lens - ISO64, f7.1, 1/125. ISO64 helped me to up the SNR and saturate the sensor.

Conclusion

Most digital cameras from 2012 onwards have acceptable to good IQ. Modern marketing and collective dynamics continue to push for more image quality. Be aware of the dumbing-down effect of everyday marketing and reject any "bigger is better" theories. Study and master your digital camera.

This article shows the value of knowing your digital camera. It enabled me to increase the sensor's SNR and control the clipping highlights. The new ISO technique relies on the DxOMark "Acceptable Image Quality" rating. This gave me the comfort of having a minimum Color Depth of 18, a Dynamic Range of 9EV, and an SNR of 30db, with no ETTR, at ISO800. This new ISO technique is more exciting with the Olympus EM1 III because the new Workspace AI noise filter works from IS800.

Why shouldn't one "Expose for Highlights?" This "technique" illustrates why social media experts are terrible advisors! What happens when we apply a negative exposure compensation in any of the AE Modes? For example, many photographers like to use Aperture Mode and Auto-ISO. This means they can't determine if the sensor is saturated. It's like photographing with a broken lens...

A final example of timing, compositions, and complex exposures.

Alex Nail is a great landscape photographer. He took a group of photographers into the Drakensberg mountains. The vegetation in this mountainous region brought back memories of South Africa. Image quality is not only a function of your camera because all digital cameras have unique strengths and weaknesses. One of the joys of photography is managing the camera's limitations...