Wildlife photography, Game Reserves, and Africa are a fascinating combination. My wife and I love watching and photographing wild animals and birds in their natural habitat. We visited South Africa in July 2024, and being South Africans, we couldn't wait to experience the beautiful bushveld again.
The Dinokeng Game Reserve is associated with birdlife, the Big 5, and the bushveld. The bushveld is known for its mild winter seasons, pastel colors, types of trees, and mixed grass fields. One quickly spends hours photographing trees, grass fields, and landscapes in the bushveld. For example, the red grass in some of my images is unique for the bushveld, and the many anthills are underground and external structures that house communities of working ants. The external part protects them against snow or heat, and the inside structure and channels are housing and cooling infrastructures...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/500 - This was not in Dinokeng.
This article discusses our recent visit to South Africa and the camera equipment we used. I will focus on the 3 camera bodies and lenses we took to South Africa. The article is written for casual or hobby photographers who like general advice on camera equipment and wildlife photography.
Many hobby photographers ask which camera is best for wildlife photography. Most think they need expensive "Pro" equipment. The best camera is the one you keep with you. For example, the Olympus EM10 III with the 14-150 and 75-300mm lenses take up little space and is perfect for tourists and general wildlife photographers. What are the benefits of having expensive Pro equipment?
We stopped 1 to 2 car lengths away from these Cheetahs, and our only camera was an iPhone 14. AI deleted the sitting Cheetah's right leg...
The above image is an example. Our cameras were in the trunk as we drove to the Game Lodge. The safe option was to stay in the car as we spotted the 3 Cheetahs. While I am happy we took this photo, it also illustrates why I don't use Mobile Phones for photography. DxOMark-News did a consumer study and found how biased AI algorithms are responsible for disproportionate images and the inaccurate colors associated with mobile phones and web-based AI image generators. For example, it was impossible to "rescue" the above image in Photoshop. See the more natural-looking Cheetah photos from my Olympus E-M1 III with the Zuiko 12-200mm f3.5-6.3 lens a little further down.
See this video showing how to create an AI image in Photoshop.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f9, 1/320 - Enhanced Raw converted in WS.
Expect to see an increase in used camera prices if manufacturers change to AI image processing. Why would this happen, and what makes the existing image-processing standards so different? It has also become "normal" to see mobile phone promotions on photography forums with the global push for AI normalization. Promoters typically upload close-ups of models or basic subjects to present mobile phones as "compact cameras" with advanced HDR and AI image processing...
Why is the 12MP Olympus Stylus 1s optically superior? Because they produce natural-looking images with the TruePic VI image processor, IBIS, 12MP 1/1/7" BSI sensor, and the Zuiko 28-300m f2.8 lens. In contrast, mobile phones are handicapped by their limited zoom range or subjects further away than 3m. This makes the Stylus 1s an informed or logical choice for wildlife photography...
My wife creates AI photos with Bing, Copilot, and Midjourney. These platforms apply disproportionate image processing when they add or remove arms, legs, or fingers. One should distinguish between AI image processing and computational features like Pro-Capture, Live Composite, Focus Stacking, and High-Resolution mode. The scope and functionality of modern Olympus cameras improved significantly with these computational features. Will these computational features improve with AI?
Study the above cheetah image on a large 27" display. AI deleted the sitting cheetah's right leg...
My wife used Bing to create this image...
Forum promoters actively push the idea that Standard and Premium Zuiko lenses have inconsistent image quality issues. We never see any comparisons, data, or promoters matching M43 lenses to applications or specific camera bodies? For example, I prefer my 12-45mm f4 Pro in poor weather conditions, even though I see little IQ differences between the 12-50mm and the 12-45mm f4 lenses. The EM-10 IV and E-M1 III lens combinations showed their individual strengths in different situations. It's a good idea to match your needs to the right camera and lens combination.
Dust was a challenge in the Dinokeng Game Park. My camera and lens combo were always covered in a thin layer of dust. The Olympus Supersonic Wave Filter (SSWF) plus the dust protection of the 14-150mm f3.5.5.6 II and 12-200mm f3.5-6.3 lenses helped us to stay focussed on photography...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/320 - Enhanced Raw converted in WS.
The Olympus 12-200mm f3.5-6.3 proved to be a surprisingly capable lens. It's more cost-effective and weighs less than the 40-150mm f2.8 Pro lens with a 1.4X converter. The EM1 III plus 12-200mm is a compact option, has good handling plus IQ, and is perfect for game drives and general trips.
E-M10 IV and 45-175mm - ISO800, f5.6, 1/3000 - 2X digital converter (350mm reach @ f5.6).
This 24-400mm FF equivalent lens is a superior ultra-wide to long-range lens. It offers almost 400mm or 800mm (FF) with the Olympus 2X digital converter. It pays to practice regularly with the Olympus 12-200mm f3.5-6.3 lens because it's designed to deliver excellent wildlife and holiday images.
The above image was taken in Switzerland. Was it correct to use ISO800? This is an interesting question because I amplified the image data 3 times with the ISO, WS (EC), and the digital converter. Knowing this, how would you manage your image signal amplification plus image (tonal) data? Would having more light on the sensor and a lower ISO be an option when using the digital converter?
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS. (Magaliesberge)
The main challenge with Standard and Premium lenses is slow apertures or lens speeds. For example, I won't use my 12-200mm lens on early morning safaris. The Olympus Zuiko 40-150mm f2.8 Pro lens is perfect for early morning drives or low-light conditions in the Dinokeng Game Reserve.
Which of the EM1 III or EM10 IV is better for sunrise safaris? We need higher shutter speeds for landscape, bird, and wildlife photography. That means high ISOs or fast lenses in low-light situations. The AI noise filter of Workspace lets us use higher ISOs and shutter speeds with the EM1 III.
Another consideration is the different types of game drives. For example, a photography experience is vastly different from a tourist experience. A good example is a specific wildlife safari that focuses on photography and the photographer. It's also possible to do personalized hiking tours with professional rangers from Dinokeng. Small groups of hikers are accompanied by Dinokeng rangers.
Olympus EM10 IV with Lumix G Vario 45-170mm f4.0-5.6 PZ lens - ISO1600, f6.3, 1/2000 - Raw file converted in WS.
Some Tips when Planning Your Wildlife Photography.
The most empowering decision any photographer could make is to reject any undisclosed social media promotion. In fact, most forum discussions and YouTube product presentations should be considered another repetition or undisclosed promotion. The second thing is to accept that Olympus M43 lenses were carefully designed and ready to produce acceptable to excellent image quality.
See my DXOMark article for more about acceptable and good image quality.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f5.9, 1/650 - Enhanced Raw converted in WS.
The Olympus E-M10 IV with the 14-42mm EZ lens and the 45-175mm Lumix lens is a capable and tiny combo with a reach of 350mm (FF). The Lumix 45-175mm lens is fast, which enables us to use higher shutter speeds at lower ISOs. The Olympus 12-200mm is slower and needs good daylight.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/640 - Enhanced Raw converted in WS.
The Olympus E-M1 III, EM10 III, and IV are capable cameras. They produce clean JPEGS up to ISO1600 in the camera or when converting ISO1600 Enhanced Raw Files in Workspace. The main advantages of the Olympus E-M1 III are Pro features like Pro Capture, Autofocusing, and the AI noise filter above ISO800. See my articles on exposure techniques for good results above ISO1600...
Olympus E-M1 III with the 12-200mm lens - ISO200, f9.0, 1/500 - Converted and in WS. Wish I tried the 2X digital converter.
For example, there are almost no IQ differences between the EM1 III and E-M10 IV. The difference is features, knowing your camera, and experience. I was photographing mountainous scenes when we spotted 5 vultures. My lack of BIF experience with my E-M1 III showed as I struggled to capture them. Quickly changing one's camera settings and the E-M1 III's Pro features give better photos. A critical aspect of bird and wildlife photography is the ability to capture that special moment...
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f7.1, 1/640 - Enhanced Raw converted in WS.
Another critical aspect of wildlife photography is zoom lenses and a good understanding of EV Stops. We gain a full stop (lens speed) when changing from the Olympus 12-200mm to the Lumix 45-175mm lens. This explains one of the main benefits of the Olympus 40-150mm f2.8 Pro lens and the 1.4X or 2X converter. How does this 80-300mm f5.6 Pro combo compare to the Zuiko 70-300mm lens?
For example, the Olympus 40-150mm f2.8 Pro lens with the 1.4X converter is 1.3EV quicker at 200mm than the 12-200mm f3.5-6.3 Premium lens. That means one can double the amount of reflected light on the sensor. This is ideal for low-light conditions like early morning Game Drives.
My wife's E-M10 III with 14-150mm f3.5-5.6 II - ISO200, f4.5, 1/400 - The Nyalas were in the camping area.
The Olympus 40-150mm f2.8 Pro and 2X converter is a small Pro lens with an equivalent FF zoom of 80-600mm f5.6. Is this why forum experts (promoters) say M43 photographers should not use the Olympus 2X converter?It's like saying the best M43 traveling lens is the Olympus 12-100 F4 Pro. Why do they all promote this BIG lens? Why not the 12-45mm plus 40-150mm f4 Pro lenses?
Source: www.ricardo.ch
Why would someone say the Olympus 12-100mm f4 Pro lens is a good traveling lens?
Olympus E-M1 III with 12-40mm f2.8 Pro lens and tripod - ISO800 - Enhanced Raw converted in WS with the AI Noise Filter on Low.
The South African bushveld is green in summer and dry in winter. The winter season is good for finding and spotting wild animals. My posted images are typical for the South African winter season. My brother and I made a day trip to the Dinokeng Game Reserve, and my wife and I spent 2 nights in the Ouklip Game Lodge in the same game reserve close to Pretoria.
This website has more info about the animals and birds of South Africa.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
What about my camera equipment?
Our visit to South Africa was packed with diverse photo opportunities like Glamping, game drives, bird and wildlife photography, several day trips, plus quality time with family and friends. I took the following Olympus and Panasonic M43 equipment to South Africa:
Olympus E-M1 III and E-M10 IV camera bodies
Olympus 40 - 150mm F2.8 Pro lens
Olympus 1.4X and 2X converters
Olympus 12-200mm F3.5-6.3 lens
Olympus 12-40mm F2.8 Pro lens
Olympus 14-42mm f4.5-5.6 EZ lens
Olympus 75mm f1.8 Zuiko Lens
Olympus 9-18mm f4.0 Zuiko lens
Lumix Vario PZ 45-175 f4-f5.6 lens
Leica (Lumix) 25mm f1.4 lens
Manfrotto carbon Tripod
Lowepro "CompuDaypack"
Lowepro Shoulder bag
Accessories like a flash and Polarizer filter...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
What changes will I make for my next trip? Will I replace my M43 equipment? Size and weight are critical considerations when I replace a camera or LENS. Based on weight and usage, I am considering the following changes for my next wildlife photography or tourist experience:
Olympus E-M1 III and E-M10 IV camera bodies
Olympus 12-200mm F3.5-6.3 lens
Olympus 12-45mm F4 Pro lens
Olympus 14-42mm f4.5-5.6 EZ lens
Olympus 9-18mm f4.0 Zuiko lens
Lumix Vario PZ 45-175 f4-f5.6 lens
Leica (Lumix) 25mm f1.4 lens
Olympus 17mm f1.8 Zuiko lens
Manfrotto carbon Tripod
Lowepro "CompuDaypack"
Smaller Olympus Shoulder bag
Accessories like a FL-300 flash, bean bag, and Polarizer...
My camera gear plus accessories, Macbook plus cables, and my traveling documents are all included in this lightweight package...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS. (Cheetah)
The Olympus EM10 IV with its built-in flash and the Zuiko 14-42mm kit lens at a family event. The exp. comp. was -0.7EV.
Conclusion.
Our time in South Africa was spent on family and friends, various day trips, and tourist activities. The Olympus 12-200mm lens has proven to be very capable. The E-M10 IV with the 14-42mm EZ and 45-175mm Lumix combo are small and capable, while the Olympus E-M1 III with the 12-200mm and 12-40mm Pro lens combo are ideal for bird and wildlife photography. Interestingly, I never felt the 40-150mm f2.8 Pro and 1.4X (2X) combo would make a significant enough difference...
I never needed to push (saturate) the sensor or increase my tonal data. I used Aperture Mode and occasionally Exposure Compensation. I converted all my Enhanced Raw Files in Workspace and slightly edited them in Photoshop. Workspace has repeatedly proven to be a good Raw Converter...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
It felt good to see the relevance and affordability of used equipment. My E-M1 III and the E-M10 IV with the 14-42mm EZ and 40 -150 f2.8 Pro lenses are less expensive than a new OM-System OM-1 II. Folks, the older Olympus E-M1 III with its new Truepic IX image processor is a masterpiece...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
It's difficult to experience all the animal or bird species or explore each corner of Dinokeng in 3 days. For example, Hyenas sleep during the day and are active from approximately 18H00. It can take days to photograph most of the animal and bird species. The ideal alternative is something like the Kruger National Park or monthly excursions to a game reserve like Dinokeng...
Olympus EM10 IV with the Lumix FZ 45-175mm lens. The image was taken during a casual 9 holes...
It takes patience, self-control, and practice to enjoy balanced photography sessions versus enjoying the bushveld and wildlife in Dinokeng. For example, it takes a few hours to wind down and enjoy an African game reserve and wildlife scenery. Our selection of camera gear supported this state of mind as we planned our visit to South Africa and Dinokeng as tourists and not Pro photographers...
See this documentary about relocating lions to Dinokeng. Link
Siegfried
My wife's Olympus E-M10 III with 14-150mm f3.5-5.6 lens - ISO200, f5.6, 1/800 - Jpeg out of the camera.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f5.6, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/500 - Enhanced Raw converted and Adjust Color function in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/250 - Enhanced Raw converted in WS.
I experimented with Pro Capture and the E-M1 III and edited these Enhanced Raw Files in Workspace.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/80 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO400, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-f6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS. It's rare to see a Rhino sleep like this.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f5.6, 1/1600 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/500 - Enhanced Raw converted in WS. (Vleiloerie)
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO500, f6.3, 1/500 - Enhanced Raw converted in WS.
Center image. Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f5.6, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO2000, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO400, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO320, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/630 - Enhanced Raw converted in WS.
E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS. The red grass is unique to the bushveld.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/320 - Enhanced Raw converted in WS.
Imagine a river flowing through a beautiful Alaskan landscape. On the one side, we see photographers with Color Profiles and film simulations. Simplicity and basic camera settings differentiate Fuji's Film Simulations from the rest. Conversely, we see an almost perfect solution and photographers worrying over basic technical characteristics, like sensor size, pixel count, diffraction, image quality, lens quality, image noise, dynamic range, and AF technologies.., basics that apply to all cameras.
Olympus EM10 IV with 14-42mm f3.5-5.6 II lens - ISO200, f5.6, 1/400 - Enhanced Raw file converted with WS (Monochrome profile)...
A small group of Olympus visionaries at the Imaging Business introduced the Olympus E1 in 2003 with a new 4/3rds sensor format. In the years following, we saw how competitors formed a collective full-frame DSLR community with the promise of having "superior" image quality. Oversimplified "size and capture" theories followed while the M43 format was targeted in counter-marketing campaigns.
Olympus Pen F with 17mm f1.8 lens - ISO200, f7.1, 1/100 - Enhanced RAW, WS, Color Adjust, and Pop ART filter w Soft Focus effect.
It's exciting to learn more about this digital 4/3rds format, the general evolution of image sensors, and the vision the Olympus engineering team had as they pioneered and developed the future of M43 mirrorless cameras. It's also exciting to see photographers break from the collective FF mediocracy and discover Olympus M43 cameras like the Pen F, EM5 II/III, EM1 II/III, and the OM-1.
Olympus E-M10 IV with 14-42mm f3.5-5.6 II lens - ISO200, f5.6, 1/400 - Enhanced Raw converted and edited in Workspace.
Why a collective FF mediocracy? Because every FF talking point applies to all digital cameras. For example, the FF mediocracy cannot explain the unique differences between the technical and optical characteristics of two sensor sizes because the "size and capture" theory assumes the bigger one is better. In fact, the "size and capture" theory became so charged on social media that it's impossible to take anything serious full-frame promoters and fanboys say. Consider the absurdity of saying the "bigger one is better" without having a credible technical paper supporting your theory.
More about an almost-perfect photography solution...
The Imaging Business refined its photography offer before Olympus closed it. For example, they optimized their 16MP and 20MP digital Live MOS sensors with new sensors, FW updates, and the first Stacked M43 BSI sensor of the Olympus OM-1. They created an advanced Image Processing typology with dedicated Image and Art Processors. The same processing topology is embedded in Workspace and the Enhanced Raw Format. It's possible to summarize the evolution of this advanced solution in 3 R&D phases. The result is an M43 camera that will record the image and process the final JPEG in the camera, the OI Share App, or Workspace (16-bit TIFF) via the Enhanced Raw Format.
Did you know it's possible to tweak your camera's tonal adjustments (highlights, mid-tones, shadows, and Gradation) in Workspace? This is possible with the Enhanced Raw Format from Olympus...
Development Phase 1
Olympus introduced their ART filters with the new E-30 in 2008. Cameras like the E-30, E-620, E450, E-P1/2, and E-M5 had the first generation of ART filters. Olympus also introduced new features at the end of this phase like Live Time, Live Composite, and Photo Story with the Olympus E-M5 II. Did you know that one can apply almost any aspect ratio to the image (frame) below with Workspace..?
Olympus E-M10 IV with 17mm f1.8 - ISO125, f1.8, 1/4000 - Enhanced Raw File converted in WS (ART filter).
Development Phase 2
In this phase, Olympus introduced improved Tonal Adjustments, which included the "Auto" Gradation option, Highlights/Shadows & Midtones, and the Workspace Tone Curve function. The Color Creator lets photographers add a "chrome" or "global" color effect, and the Monochrome and Color Adjust Profile functions let us focus on individual colors with the Pen F, the E-P7, and Workspace...
Olympus E-PL9 with 14-42mm EZ - ISO200, f9.0, 1/200 - Enhanced Raw converted/edited with WS (ART filter).
Development Phase 3
This was an exciting phase for M43 photographers. Olympus introduced the next-generation ART filters plus more control for the E-M1 II/III, E-M10 III/IV, E-P7, E-PL9/10 E-M5 III, and the OM-1. Workspace improvements enabled M43 photographers to apply MonoChrome and Color Profiles (Color Adjust) to almost all Enhanced Raw files. This phase also introduced new computational features like Pro Capture, handheld High Ress Mode, advanced AF, Starry Sky AF, and ND-Filters...
The 6 steps to unlock your creativity with Olympus cameras...
Your creative photography with Olympus cameras will radically improve if you:
Learn to walk away from all counter-marketing or dumb-down fanboy statements.
Accept that the Olympus Imaging Business was part of the Olympus Corporation.
Break away from the hold and negative programming effect of counter-marketing.
Improve your knowledge and experience of photographing with digital cameras.
Work hard to rediscover the M43 format and your Olympus or new OMS camera.
Be part of the discussion and constructive criticism of OM-System and the future.
Olympus E-M5 II with 12-50mm f3.5-5.6 lens - ISO200, f6.9, 1/320 - Enhanced Raw, Instant Film ART Filter, Color Adjust + Tonal tweaks.
Imagine what if... Fuji photographers had access to these features...
Fuji developed a wide range of mirrorless cameras plus firmware upgrades to support a community of photographers who appreciate their "Color Science" and the community's Color Profiles. It's interesting to see what Fuji photographers do with only a few camera settings. For example, study the camera settings in this Color Profile (recipe) from a well-known Fuji photographer.
One can indeed do much with Fuji cameras and Fuji's Raw Studio. Knowledge and experience are equally important when working with Olympus or Fuji cameras. I like Olympus photographers to see what Fuji photographers achieved with only a few camera settings. The following illustration is only a snapshot of what M43 photographers can do with Olympus M43 cameras and Workspace...
Did you know that the best way to familiarize yourself with these creative functions is to convert/edit your Enhanced Raw files in Workspace? The more I practice with Workspace, the easier it gets to be creative with my Olympus camera or to plan my editing workflow while photographing...
Conclusion
The initial Olympus ART filters were wild, and most M43 photographers rejected them. What we have today is something completely different. It's now possible to tweak some ART filters or target specific colors. The editing scope of both Raw and Jpeg files is endless in Workspace. Phase 3 made it possible to create complex and unique color profiles that will support almost any photography style...
Olympus created an M43 digital camera solution that lets photographers enjoy unique photography styles. Workspace and the Advanced Raw Format are an integral part of this complete solution. This includes a comprehensive lens offer and cameras like the older E-series (E-30, E-620, E-450) plus M43 cameras like the E-M1, E-M5 II/III, E-M1 II/III, the EM10 series, the Pen series, and the OM-1.
Thank you for a great time discussing Olympus cameras.
Siegfried
Olympus E-M1 III with 75-300mm f4.8-6.7 II lens - ISO200, f6.1, 1/125 - Enhanced Raw, Partial Color ART filter, Adjust Color + Tonal Tweaks.
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