VideoPic Blog

Jan 21, 2025

Why are used Olympus cameras popular?

Last Updated:- 19th February 2025 (Interesting AI updates plus new E-500/E-M10 IV test images)

Why does the MyOlympusOMD blog continue to grow, and why do I focus on Olympus cameras and the M43 segment? Interestingly, for every 100 views my blog receives, 85 are from search engines, 8 from referrals, and only 7 from forums. We know photography forums censor conversations that challenge the mainstream view of older Olympus cameras and crop sensors. Does this explain the search for a more informative and neutral discussion of used cameras and M43 sensors? Does the mainstream view of Fuji cameras, such as the X-T5, encourage this trend for a more optimistic approach to crop sensors and used cameras? Let’s explore this fascinating and growing photography dynamic.

I prefer factual AI (Grok or ChatGPT) data to commercial photography forum info.

This article reviews a growing group of photographers rediscovering photography. New camera talking points differ from older cameras, which isolates used camera owners from the mainstream view. For example, photography enthusiasts like familiar camera menus and photography or editing discussions versus the social media version promoting new camera menus, sensor sizes, and more pixels. Let's review this shift to creative photography versus cropping with more megapixels.

My previous article reviewed the image sensor's technical and optical characteristics and compared them to the mainstream view. This article reviews the benefits of manufacturer product information. For example, press releases help us to learn more about new cameras like the OM-3. Manufacturer data is proving to be a more reliable source of information than social media. We will also review the general conversation on image quality and how Olympus treated image quality.

For context, I will review a few marketing concepts to highlight the benefits of having manufacturer press releases, modern AI services, and the value of creating your own product comparisons.

Forums serve as ideal marketing platforms where marketers simulate grassroots acceptance of new products or counteract targetted brands. By monitoring repetitive forum posts, one can often identify marketing programs in action. For instance, paid forum promoters will suppress discussions about used cameras, while pushing defects in targeted brands or focusing on competitive brands. While it's common for photographers to engage in buying and selling cameras, many manufacturers treat the used camera segment as a direct competitor. Consequently, observing forum interactions has become a reliable indicator of both marketing and counter-marketing strategies.

Why would consumers study social media instead of manufacturer information, and how did external marketers insert a new marketing layer between the consumer and the manufacturer? For instance, it’s common for third-party marketers to manage “sensitive” corporate programs. Some companies spend millions distancing themselves from oversimplified theories, such as the "size and capture" program. Does this explain the growing trend of consumers rejecting programs like astroturfing, commercial programs promoting false information, and repetition creating new demand?

Olympus E-M1 III Enhanced Raw File converted in WS (Color Adjust, ART filter, and more).

The E-M10 III & IV are examples of refocusing supplier information via the alternative marketing layer. For example, contrary to the social media view, these are the most refined E-M10s with their TruePic VIII image processors, 121 AF point sensors, and 5-axis IBIS. The AP menu was a welcome addition to access the new and improved computational and creative features. The E-M10 III & IV are quick and deliver excellent IQ across the tonal range. The new 240-point AF cluster feature was also a welcome upgrade. My wife and I use these two cameras and are 100% satisfied. The Enhanced Raw Format and Workspace transform all Olympus cameras into flexible and powerful creative tools.

How much do you know about Olympus cameras like the EM-10 III, EM10 IV, and the Zuiko 17mm, 45mm, and 25mm f1.8 lenses?

My 2025 goal is "going back to basics." This means focusing on more reliable supplier information and ignoring the alternative marketing layer. For example, what did Olympus say about the TruePic image processor, firmware, image sensors, Zuiko lenses, and raw converters/editors like Workspace?

The alternative is a fake marketing layer, which promotes the idea that paid social media experts are trustworthy advisors. It's remarkable how this happened while they established a flawed theory saying full-frame cameras are inherently better than crop sensor cameras (study camera reviews). The social media version of image quality is the sensor is everything, hence the "bigger is better" theory.

For example, social media advisors claim Olympus reused the same old 12MP, 16MP, and 20MP image sensors across different cameras. We know this is false because the E-P3, E-P5, and others (up to 40%) received new image sensors. What criteria did Olympus use to improve image quality?

Olympus E-30 with 14 - 54mm f2.8 - 3.5 Zuiko lens. The Enhanced Raw File was converted in Workspace.

Should the focus be on more pixels? What about Sensor Sensitivity (Optical & Quantum Efficiency)? Did they consider the sensor's readout speed? Don’t you think the hype about sensor size, IQ, dynamic range, and noise drives photographers to underestimate the significance of the image processor, lens, and sensor combination? Should we only consider the sensor (IQ) when reviewing cameras?

The above Olympus E-M1 III and OM-1 images are almost identical. In fact, the technical image data or the sensor's ability to capture data is similar for these cameras. The TruePic IX and X Image Processors influence the final image look more than the sensors. This explains the differences between the JPEG look of older digital cameras (film look) and the data differences between camera brands.

See this short article to better understand the role of the Image Processor.

E-330 and 14-54mm lens. ISO400, f5.4, 1/400. (camera jpeg)

The Olympus E-3, E-30, and E-5 are interesting examples. The E-3 and the E-5 were professional DSLRs that looked similar but were very different. The E-30 is an enthusiast DSLR with the same 12,3MP Live MOS sensor as the E-5. Yes the E-5 was launched in 2010 and does not have the same sensor as the Pen E-P3 from 2011. The E-30 has a TruePic III+ and the E-5 a TruePic V+ image processor. While both have excellent image quality, the E-5 has the edge with its new and more powerful IQ technologies such as the advanced noise filter technology. Study older press releases for more information.

This is an example of how Olympus improved its existing cameras.

Olympus E-30 and 50mm f2.0 Macro. I used a CPL filter on images 2 and 3 and converted the raw file in Workspace.

Why are CCD sensors known for their film look? The original marketing plan was designed to support the transition from analog to digital? For example, Olympus formed an alliance with Kodak during the transition, and analog features like ISO sensitivity were copied to digital cameras. Now we know sensor sensitivity is measured and set at the factory and the ISO function amplifies the image signal. Selling the modern "digital image look" to analog photographers would not have worked well.

Everything changes as we learn more about digital photography...

I did a quick "image look" test to find the differences between my E-500 (CCD) and my newer EM10 IV (Live MOS sensor). I also converted an E-500 raw file in Workspace and compared it to the camera's JPEG. The images are surprisingly similar, except for some finer details (results below). This raises the question of whether Workspace uses one IQ database for Olympus cameras, meaning older Enhanced Raw Files benefit from modern IQ technologies. I wish Olympus had given us more info.

An interesting technical review of the Olympus E-500.

I used the Olympus E500 with the Zuiko 50mm f2.0 Macro. This is a crop of the out-of-camera (OOC) jpeg image.

Olympus did a great job quantifying the role of the image sensor, TruePic processor, and Zuiko lenses. Press releases are also one of the most reliable sources of information when studying older Olympus cameras. Most of the pre-2020 press releases can be downloaded from the Olympus website. These are the old Q&A pages for most Olympus 4/3 and M43 cameras (see the comparison tables).

Press releases give us a fascinating view into the IQ technologies Olympus developed while improving sensitivity and sensor speed, Zuiko lenses, IBIS, and autofocusing. It's also interesting how Olympus improved its creative and computational features and functions over the past 10 to 15 years.

I converted the E-500 Enhanced Raw File to a camera JPEG version in Workspace and prepped the final image in Photoshop.

How does Workspace differ for older and newer Olympus cameras? The available Workspace (camera) settings are linked to the Enhanced Raw File or Exif data. For example, the E-500 does not have shadow, mid-tone, and highlight adjustments as it's at least 15 years older than the EM10 IV. Older cameras like the E-500 only offered limited control over the camera's tonal (gamma) curve.

Olympus E-M1 with 17mm f1.8 Zuiko lens. I converted the Enhanced Raw File in Workspace (Color Creator, Tonal Curve, Curves).

How did Olympus describe image quality improvements? Did they only rely on the E-M10 IV's newer 20MP sensor or a collection of advanced TruePic image processors, image sensors, Zuiko lenses, and new IQ technologies? For example, Olympus introduced many firmware updates, TruePic processors, and better IQ technologies from the older E-500 to the EM10 IV. Study the press releases.

I used a Gray card for the next 3 images and did the WB "correction" in Workspace.

Olympus E-500 and 50mm f2 Zuiko lens. ISO100, f6.3, 1.3 Sec. I converted the Enhanced Raw File in Workspace.

Olympus E-M10 IV and 12-50mm M.Zuiko lens. ISO200, f6,3 1/5. I converted the Enhanced Raw File in Workspace.

I used two LED lights and a tripod to create a controlled test environment. It was great to experiment with camera angles, LED placements, and LED light intensities. This enabled me to manage the scene or the final image look. We can compare Workspace to the TruePic processor. It's possible to create different "image look" results with external and Workspace (TruePic processor) variables.

See this example of what's possible when painting with light (external & editing).

The Olympus E-500 Tiff version. I applied the Pen F (Kodak 160 VC) profile to the gray card Tiff version in Workspace.

Olympus press releases and the information they share with customers are significant. For example, the original E-M5 and the E-M10 have the same sensor (E-M10 press release). The E-M5 has the older TruePic VI, and the E-M10 has a newer TruePic VII. The E-M5 has 35 AF points on the sensor and the E-M10 has 81 AF points. Does this mean the EM-10 has an upgraded version of the E-M5 sensor? Did the E-M10, therefore, receive a new sensor with 81 AF points? The E-PL 7, E-M5 II, E-M10 II, and E-PL8 probably used the same high-speed 81 AF points sensor. A combination of the TruePic image processor and the upgraded sensor could explain the image quality improvements of the E-M10.

I had an interesting conversation with ChatGPT on whether the E-M10 has a new sensor. The AI reply raised a few questions which we reviewed with data from Olympus press releases and an OMD catalog. At one point I asked for a list of information references. Interestingly ChatGPT sourced its information from the alternative marketing layer. I used different questions to get ChatGPT to do a more in-depth search into the subject. Knowledge is critical today as the obvious is not always correct.

Update: The AI service Grok received the highest info quality rating for searching deeper than only the alternative marketing layer. I asked Grok if the E-M10 has 81 physical or software AF points? The reply was both physical and software AF points are possible with mirrorless cameras.

Will AI replace the alternative marketing layer and grassroots forum simulations?

Olympus E-500 with 50mm f2.0 Macro. ISO100, f6.3, 1/1250. I converted the Enhanced Raw File in Workspace.

Another interesting example is the Olympus Pen E-P3. The external marketing layer promotes the idea that all 12,3MP Olympus cameras have the same old sensor. Did you know these sensors and TruePic image processors were tuned to deliver the well-known Olympus color or film look? Olympus upgraded the Pen E-P3 with a high-speed (120fps) Live MOS sensor and the TruePic VI processor. Older 12,3MP cameras (M43 & DSLRs) had older image processors. See the E-P3 press release for more info.

How would you define the Olympus analog or film look? Why the question? The same social media advisors who rave about Fuji's Classic Chrome film simulation, question Olympus' color accuracy. What is more popular today, "correct" colors or something like Canon, Olympus, or Fuji colors?

Imagine having an Olympus E-5 III (plus handgrip) and the older E-450 in your camera bag...

What are the main benefits of owning an Olympus camera? The main advantage of photographing with Olympus cameras is an opportunity to discover more about digital photography than sensor size, dynamic range, and image noise. Used Olympus cameras offer a mix of basic to advanced exposure techniques, creative color technologies, and computational features at a competitive price.

Color and monochrome profiles are flexible and powerful options. Photographers have more options while creating and sharing color/monochrome profiles with Olympus cameras or Workspace, and the simplicity of sharing these profiles with Workspace is a significant benefit. My next article will briefly overview the Olympus (Pen F) Creative Dial and the E-P7's color/monochrome and AP options.

A modern image look of the Olympus Pen E-P3 and Zuiko 12mm f2.0 lens. ISO200, f8.0, 1/650. I converted the Enhanced Raw File in WS.

Take a moment to carefully study the press release (below) with the 5MP and 8MP CCD sensors of the Olympus E1, E-300, and E-500. Imagine the surprise when the Olympus Engineering Team learned the alternative marketing layer is promoting the idea that sensor size is critical for image quality and more pixels would not negatively impact the Sensor's Sensitivity, Dynamic Range, or noise floor. What role did the alternative marketing layer and nodding consumers play in motivating the Olympus board of directors to walk away from 100 years of innovation and a visionary Imaging Business?

The next Press Release announced the first Live MOS sensor replacing older CCD Kodak sensors. I only included information relevant to this article. Study the Olympus E-330 press release for more. Folks, I spent hours studying and building a summary of the new IQ technologies, image sensors, image processors, software plus firmware updates, and the lenses Olympus developed for its cameras. It's a rewarding and positive experience learning about the visionary solutions Olympus pioneered, their planning and decision-making, plus segmentation and new product positioning.

See this article about the hyped Olympus financial scandal?

What about image quality? This is a complex subject because we don't have a definitive standard for image quality. I always smile when forum advisors say, "Everyone knows FF cameras are better." One advisor claimed full-frame cameras have 20 to 30 times "more" image quality. Others spend hours pixel-peeping while the rest of us make prints and enjoy our photos with a glass of wine.

How many image quality (IQ) tests have I done? See this article reviewing the DxOMark IQ database. I tested 15 cameras with a 20-year to 20-times pixel area difference. I also tested thirteen Olympus M43 cameras further down. From these and other examples, IQ arguments should not be at the top of your features list when reviewing cameras. The application (ie landscape, BIF), type of camera, auto-focussing, computational features, and the final IMAGE LOOK are way more interesting.

Olympus E-M1 III Enhanced Raw File converted in Workspace. (Color Creator)

For example, the design criteria of the older (2015) Olympus EM5 II were flexibility, great video, IQ improvements, improved 5-axis VCM stabilization, and 40MP high-resolution images from the same E-M10 sensor. This is the same high-performance 16MP Live MOS sensor with 81 sensor AF points. It's fascinating to study the E-M5, EM5 II, E-M1, and E-M10 press releases and brochures while reviewing the improvements and computational features Olympus created for these cameras.

Olympus E-500 with Zuiko 50mm f2.0 macro lens. ISO100, f2.0, 1/3200.

In conclusion, why are Olympus cameras so popular? The Olympus Imaging Business earned a great reputation for its visionary solutions and technologies, the functional design of Olympus cameras (look and feel), the digital M43 sensor format, creative plus computational features, Olympus color, and unique image quality (film look). It's also an opportunity to re-live the evolution of high-quality digital cameras from the past 15 years. The classical look and feel of Olympus compact, DSLR, and M43 cameras played a large part in the increasing popularity of used Olympus cameras.

The Fuji X-T5 Press Release. How does it compare to the mainstream view?

Would you question this ISO1600 (same camera settings) test if someone published it on social media?

ISO1600, f7.1, 1/50th. The DOF advantage allows for more detailed shadow info.

The smaller DOF of FF cameras and equivalence are not for everyone.

The Fuji X-T5 is a great alternative to M43 cameras.

Digital cameras delivered excellent image quality over the past 15 years, which allows us to convert older RAW files professionally in 2025. Different Olympus camera models differ in weather sealing, the focus on application, computational features, and processing speed. For example, how much effort does it take to repeatedly capture great images in different situations? Photographers enjoying cameras and photography as a hobby appreciate used cameras like the E-30, E-620, E-520, and Zuiko lenses for their unique film-like image quality and competitively used prices.

Nothing we experience today is new. This is more apparent as we study cameras like the OM System OM-3. Future corporate marketers (AI) will likely "create" new camera options and features from a central camera database and match them to "new" photography segments and applications.

Olympus E-450 with Zuiko 14-42mm lens. ISO100, f9.1, 1/500. Something special about the film look of Olympus DSLRs.

I would much rather enjoy an annual Photoshop and Kelby One subscription or plan new photography excursions than "invest" thousands of dollars on a "better IQ (define)" full-frame solution.

Imagine buying a complete camera kit, with film-look images, for less than $1000:

Olympus E-30 or E620 DSLRs with Live View ($180)
I recently paid $60 for my E-450 with 2 kit lenses
Olympus Zuiko 12 - 60mm f2.8 - 4.0 lens ($210)
Olympus Zuiko 50 - 200mm f2.8 - 3.5 lens ($120)
Many other great Zuiko lenses to choose from.
A used camera bag, carbon tripod, and flash.
When last did you print DSLR images?
This and more for less than $1000...

Olympus DSLRs have a remarkable film-like image look. I also view the world differently today. For example, it's a joy to edit my older photos. I also love the image look of older Olympus CCD and Live MOS sensors. I believe both these sensor types benefited from the transition to digital.

Olympus E-30 and 14-54mm f2.8-3.5 Zuiko lens. ISO100, f7.1, 1/100. I converted the Enhanced Raw File in Workspace.

A key aspect of older digital cameras is supplier info. For example, Olympus never tweaked the IQ of its entry-level, enthusiast, and professional cameras. Olympus segmented its cameras with features, weather sealing, and functionality. See the E-500, E-520, E-3/5/30, and E-620 press releases.

How does OM System improve and differentiate its cameras?

Olympus E-510 with 14 - 42mm kit lens. The jpeg was edited in Workspace (Color Profile, Soft focus ART filter, Gamma, and Curves).

Should we update to the OM-3 version of Workspace? I recommend waiting for older Intel Macs. The current (V2.3.2) Mac version is stable and works like a dream with my Olympus cameras. I upgraded to V2.4 on my older Macbook Pro (M1) and experienced no issues. It's quick and responsive.

Photography is fun.

Siegfried

PS. I used the same studio, M.Zuiko 60mm f2.8 macro lens, and camera settings for the images below. Spot the differences...

Oct 17, 2024

Dramatic Skies and Exposure Techniques

Last updated:-30th December 2024

Introduction.

This article reviews the "bigger is better" marketing program and the misleading sales lines full-frame promoters repeat on social media. Take a moment and consider the following: Does the photographer or camera create exceptional photos? Social media promoters claim everyone agrees the size of the sensor determines good or poor image quality. Another marketing myth repeated on social media is all photographers need high-resolution sensors and the highest possible dynamic range (DR).

Sunny days, cloud formations, and deep shadows determine our photography and post-processing style because the light reflecting from the clouds and shadows increases the scene's Dynamic Range. Many photographers use bracketing and/or HDR techniques to manage and capture such landscapes. This is a basic example of applying experience, reflected light, tonal, and color data versus relying on the image sensor. Forum dwellers have a strange culture of trusting the sensor for everything.

One of the more exciting aspects of Olympus M43 cameras is the features with which one manages the camera's technical and optical limitations. The best advice for using Olympus cameras is to learn more about digital cameras and avoid any forum talk about dynamic range, color issues, or noise.

Mobile phone companies manage the camera's technical and optical limitations with firmware, smart image processors, modern sensors, and computational features. For example, one would think mobiles can't deliver image quality when evaluating those tiny sensors with the "bigger is better" theory.

Olympus EM10 IV and 14-42mm II R lens. ISO250, f6.7, and 1/250. Diffused light. HDR1 Raw File.

This article focuses on the know-how and practical aspects of digital photography, exposure, and image editing. You will find more about the following in this article:

The Micro Four Thirds (M43) sensor format, including a short overview.
Why do I highlight the Technical and Optical characteristics of cameras?
Why are most Dynamic Range discussions on social media only sales talk?
Advanced exposure techniques versus the sensor does everything theory.
Why did older HDR and ETTR techniques become less popular after 2012?
The image sensor's role versus the image processor and post-processing.
What does it mean to "paint with light" or consider the light conditions?
How do photographers control (balance) the dynamic range of a scene?
What is the difference between exposure settings and tonal adjustments?
The OM System OM-1 II or Olympus OM-1 Stacked BSI Live MOS sensor.
Why is the discussion about pixel size (well capacity) cheap sales talk?
How to apply the Olympus Pen F monochrome profiles to the EM10 IV.
A short video discussing Workspace, Raw conversion, and image editing.
Features like Stacking, Auto HDR, Bracketing, Composite, and others.

TIP: It's best to study my images on a large display...

Olympus EM10 IV with the Zuiko 17mm f1.8 lens. ISO200, f6.3, 1/160. Enhanced Raw File converted in Workspace.

All digital cameras suffer from technical limitations, such as too little dynamic range, rolling shutter (sensor readout speeds), and image noise. Acknowledging these limitations, the Olympus engineering team designed innovative features like Auto HDR, stacking, composite, and computational features such as high-resolution mode, ND filters, SCN modes, and a new digital M43 sensor format.

Medium-format and Full-Frame photographers experience similar technical and optical challenges. For example, crop sensor cameras have a larger depth of field (DOF) whereas MF and FF cameras have a shallower DOF. That's why landscape photographers like Gavin Hardcastle prefer to use focus stacking and exposure bracketing. See how Gavin manages his landscape scenes in this video.

Olympus EM5 II with the Lumix 32-35mm f2.8 lens. ISO200, f7.1, 1/160. Enhanced Raw converted in Workspace.

The new 4/3 format is a digital format. The entry angle of the reflected light to the pixel is critical. The goal was a 90-degree entry angle for M43. That would control any shot noise in the image signal path from the lens to the sensor, via a new lens flange design, and the pixel entry angle. That meant supporting the optical efficiency plus the sensitivity of the sensor. For example, Live MOS sensors have a larger "wiring-free" photon-sensitive area and are +/- 25% more efficient than older Standard CMOS sensors. Standard CMOS is known for causing more shot noise than BSI and Live MOS sensors.

Did you know that most Canon digital cameras use Standard CMOS sensors?

Olympus EM1 III with Lumix 35 - 100mm f2.8 lens. ISO200, f5.6, 1/400. This is an amazing lens.

Why did Olympus select the 4:3 ratio? The 4:3 ratio fills the sensor's image circle more efficiently than the older 3:2 film format. This enabled Olympus to design high-efficiency Zuiko lenses with a 90-degree entry angle to the Live MOS sensor. The Olympus engineers created a new digital format that meets the future needs of high-sensitivity sensors (Higher Optical and Quantum efficiencies).

Figure 3

How does the 4:3 ratio benefit our Image Quality? Photographers do not control the efficiency of the reflected light from the lens to the sensor. For example, we control the sensor's Saturation and SNR. Considering the benefits of the new 4/3 format, the absolute IQ improvements are typically less than 1%. It's important to know that manufacturers use several examples like these to improve the camera's image quality by more than 1%. Most FF sales arguments or "fact statements" apply to the less than 1% or singular IQ categories. For example, sensor size is one of many variables.

The difference between commercial theories and experience is huge. Sales arguments focus on less than 1% improvements, while advanced photography techniques mean significant benefits. The image quality techniques reviewed in this article assist photographers in improving their image quality.

What are the benefits of Olympus (Zuiko) M43 lenses? Study this info.

See this interesting article comparing the IQ of 15 cameras.

Olympus EM1 III and Zuiko 12-45mm f4.0 PRO lens. ISO200, f5.6, and 1/320. The Enhanced Raw File was converted into Color and Monochrome in Workspace.

Complex digital camera components like the image processor, image sensor, IBIS, and computational features like Auto HDR and the Olympus High Ress mode did not replace the need for knowledge, complex lighting skills, and experienced photographers. They also didn't replace the need for a tripod, fill-in flash, lens filters, diffusers, reflectors, remote shutters, or any other camera option.

Olympus EM5 II with the Lumix 12-35mm f2.8. ISO200, f7.1, 1/160.

IBIS improves our chances of having sharp images in tough situations. That said, IBIS didn't replace the need for a tripod. The same applies to the advantages of having a more efficient image sensor with a smaller noise floor, in-camera noise, or external (AI) high ISO noise filters. The more efficient option for street or landscape photography is planning or waiting for an appropriate lighting window.

Advanced landscape and street photographers carefully plan photo locations, equipment, weather, quality of light, and sunrise/sunset times. Amazing images require planning and typically less than 3-minute photo windows with perfect lighting. For example, the lighting could be ideal until the next cloud covers the sun. Capturing special moments and great scenes plus post-processing can take hours or days. It's not a case of having a larger sensor and randomly pointing and shooting photos.

This is one of my favorite photographers. Study his last two videos...

Does the EM1 III produce better colors than the XT5?

Digital photographers benefit from basic lighting plus color, camera, and post-processing skills. The various tree examples illustrate the concept of painting with light. Photographers use the time of day, the sun's position, and clouds (diffused light) to manage the dynamic range from the highlights, mid-tones, and shadows. The above EM1 III example shows the benefits of using the late afternoon sun to manage the scene's color and the reflected light from the highlights, mid-tones, and shadows.

The above trees show the importance of knowledge and experience. For example, we can improve the image quality of older cameras like the Olympus EM5 and Stylus 1 by managing the light exposing the sensor. Studio photography is another example of photographers controlling the available light. The above trees show the potential of reading a scene, prepping the camera, and post-processing.

For example, which of the above scenes is better for older digital cameras?

Olympus EM10 IV and 9-18mm f4-5.6 lens. ISO200, f5.6, 1/200, Gradation=HIGH. Mist causes diffused light with fewer shadows and less DR.

One of the mistakes digital photographers make is to ignore the natural light or sun's position in the final image. Every outdoor image is a collection of natural highlights and shadows that follow the sun's position. Many photographers ignore these natural highlight/shadow contrasts by lifting the shadows too much during post-processing. Experienced photographers practice the art of reading and painting with Reflected Light while photographing or post-processing an outdoor photo.

EM10 IV with the Zuiko 14-42mm EZ lens. I converted and edited the Enhanced Raw File in WS. My focus was natural light and the 4:3 ratio.

Make a habit of studying outdoor photos on social. Start by using any natural shadows to find the sun's position. Why should it be easy to identify the sun's position in a well-crafted photo? Experienced photographers define their images with natural contrasts (highlights, mid-tones, and shadows). Some photographers use selective editing techniques to highlight random contrasts. The result is a form of art with conflicting contrasts. Most photographers practice the art of photography and post-processing as a creative process while highlighting and preserving nature's natural beauty.

Olympus EM10 IV with the 14-42mm EZ Zuiko lens. ISO200, f5.6, 1/500. The Enhanced Raw File was converted in Workspace.

Selecting and composing the scene. Many photographers like to include too much information when preparing a photo. The above image is an example of excluding irrelevant information by focusing on the final image. For example, the above scene works well without blue or cloudy skies. Why is this important? Focussing on the subject means more control over the scene's dynamic range.

What about Dynamic Range? You will never see any social media discussion about the following. Why the Dynamic Range variances between two full-frame, APC, or M43 cameras? Doesn't the "bigger is better" theory claim that all full-frame sensors are the same and, therefore, better than crop sensors? Could it be that image sensors are technically more complicated than what the "size and capture" or "bigger is better" theory suggests? For example, are the sensor's electronic design and manufacturing processes more complex than the "bigger is better" theory promotes?

Camera reviewers and forum experts prefer simplified sales lines like "bigger is better". For example, they will say the EM5 II in the above example has less dynamic range than the EM10 IV. Does it mean the EM5 II has too little dynamic range to capture shadow details or should we consider the time of day? The Photons to Electrons graph (Figure 1) illustrates how we control the camera's dynamic range by carefully matching the time of day and the reflected light with the scene. In addition, Olympus created several options to tweak the camera's Gamma (tonal) curve to mirror the scene.

Olympus EM1 III and the 12-40mm f2.8 lens. ISO800, f13, 4Sec, -0.3EV. Consider illumination versus Luminance for this image.

One of the more critical aspects of digital photography is the differences between the Gamma curve and exposure compensation. For example, the aperture/shutter combo can't randomly expose parts of the image sensor without using ND filters. The camera's exposure formula does not have the option to separately expose the highlights and shadows. Exposure and the Gamma curve are different variables. Why is this critical? It changes how we plan, capture, convert, and edit our raw files.

Photographers manage the ambient reflected light exposing the sensor (Sensor Saturation and SNR). In other words, photographers control the external (ambient) and the camera's dynamic range. This is significant because this equates to more than 1% image quality improvements.

Study this article for more on managing the sensor's performance.

TIP: The images in this article were taken with cameras like the EM1 III, EM5 II, EM10 IV, and EP-7.

Why are Workspace (WS) and the Enhanced Raw Format unique? Unlike Lightroom, PhotoLab, and Capture One, Workspace is a dedicated Olympus (OM System) raw converter. It lets us tweak our camera settings on personal computers because its image processing engine is similar to Olympus or OMS cameras. Most of the camera's image settings are transferred via the Enhanced Raw Format to your Workspace PC. Workspace is both a raw converter and a jpeg editor. I use Workspace to convert my Enhanced Raw Files and Adobe Photoshop to edit my converted 16-bit Tiff files.

The following summary highlights the basic benefits of the Enhanced Raw Format:

The Enhanced Raw Format layers the sensor's raw data plus image and creative settings
Raw converters like PS, LR, and Capture One do not access all these Enhanced layers
The benefits of using Workspace outweigh the constantly repeated forum complaints
The Olympus camera (image) settings are available in Workspace. This lets us:

Experiment with the camera's creative color settings in Workspace
Create and test different color and creative profiles in Workspace
The Enhanced Raw format replicates the camera's live-view display
Workspace and the Enhanced Raw Format allow us to share profiles

See this article for more about Workspace and the Enhanced Raw Format.

Olympus EM5 II with Lumix 12-35mm f2.8 lens. ISO200, f5.6, 1/1000. Enhanced Raw converted in Workspace.

Technical versus Optical Characteristics.

Why Technical and Optical characteristics? Modern marketing programs and simplified commercial theories are designed to support sales. The most effective way to learn more about digital cameras is to start with the differences between Optical and Technical characteristics:

Optical characteristics like FOV, DOF, and lenses are linked to the sensor image circle.
Technical characteristics like DR, SNR, and Noise are linked to sensor type and design.

EM1 III and Lumix 35-100mm f2.8. ISO500, f2.8, and 1/100. The enhanced raw file was converted/edited in WS/PS.

The camera's optical characteristics are linked to the sensor's diagonal measurement. The Lens Image Circle has to cover the complete image sensor (Fig. 3). This explains why the 25mm M43 lens is the same as a 50mm full-frame lens, why the Field of View (FOV) of M43 lenses is less than full-frame (FF) lenses, and why it's possible to design higher-quality and smaller M43 lenses than FF lenses.

Diagonal measurements determine lens factors.

Technical information helps photographers because it explains the design and type of sensor, camera features, and image processor. Contrary to social media FF statements, sensor size doesn't guarantee good image quality. An experienced EM1 III photographer will get similar IQ results in the same light conditions as most forum "experts" with FF cameras. For example, technical information helps us to manage the digital camera's technical limitations. Technical details are valuable when reviewing and analyzing a new digital camera and image sensor. The technical limitations of image sensors apply to all digital cameras and are managed by all photographers with knowledge and experience.

Olympus EM5 II with 9-18mm lens. ISO200, f6.3, 40s, and +2EV (Exp Comp). A complex exposure (Illumination & Luminance). I used a tripod.

Do larger sensors have more colors? The theory behind color is basic. The camera removes the color information from the reflected light with an RGB filter covering the sensor, which means the sensor captures Black-and-White images. The Image Processor uses the RGB filter values, WB measurement, and the sensor's B&W image data to recalculate the final color information in 8, 12, or 16 bits. The quality of light and the camera's Image Processor is responsible for the camera's Color Rendering.

Color rendering has become one of the main differentiators between camera brands. Canon, Olympus, and Fuji are known for their excellent color rendering and natural-looking JPEG images.

EM1 III and the Lumix 12-35mm f2.8 lens. ISO1250, f5.6, 1/60. The Enhanced Raw File was converted in Workspace.

The practical side of Optical and Technical knowledge. Social media experts rely on the size of the sensor. The "size and capture" theory's value proposition is less image noise, more color, more dynamic range, and better image quality. Experienced photographers manage the camera's technical and optical features (camera settings, lens, framing, plus options) to match the scene, time of day, and lighting. The benefits are more technical and optical control plus creative freedom.

How does technical info improve my photography? Technical papers and the Photons to Electrons graph (Fig. 1) show that the sensor's Noise Floor consists of Read Noise (Temporal and Dark) and Shot Noise. Social media experts focus only on Shot Noise because the "size and capture" theory says larger sensors capture more light with "less" noise. Wouldn't the shot noise increase with more light? (Fig. 1) A better way of controlling the sensor's visible noise (noise floor) is to manage the SNR and Saturation levels. The Photons to Electrons graph focuses on the most critical aspects of image sensors.

Go to this link for a more recent paper discussing image sensors.

Figure 1.

The Photons to Electrons Graph. All photographers should know Fig. 1. Did you know that the typical grainy noise effect is caused by Temporal Noise? The sensor's noise floor (Dark and Temporal noise) is active when we turn the camera on. The sensor only produces an image signal once the reflected light exceeds the sensor's AST (Absolute Sensitivity Threshold). I added the histogram to the photons-to-electrons graph to help photographers visualize the concept of SNR and image noise.

Did you know the sensor's noise floor varies with temperature changes during long exposure times such as blue hour, night, or astrophotography? Many astrophotographers prefer water-cooled sensors. The Panasonic GH6 uses a fan to limit the sensor's temperature rise during video recordings. Higher sensor temperatures increase the sensor's dark and temporal noise. For example, why shouldn't we leave our cameras on a tripod on a warm summer day while doing random photoshoot sessions?

What is the best way to learn more about the OM-1 image sensor? Forum "experts" refuse detailed discussions because the "size and capture" theory dictates the priority is sensor size. The Photons to Electrons graph (Fig. 1) and the video below help us understand the technical and optical differences between the M43 Live MOS and Stacked BSI sensors. For example, the sensor's Optical and Quantum efficiencies determine its Sensitivity, and the sensor's noise floor and full saturation point determine the camera's dynamic range and image noise (SNR) characteristics. These basics make it easy to imagine what sensor manufacturers prioritized when designing a new image sensor.

See this short video explaining the new OM-1 sensor.

Why is the push for more pixels a marketing program? Each pixel needs control wiring. More wiring plus connection points increase the sensor's Read Noise. That is why you see more shadow noise from cameras with 30MP or more pixels. The optimum resolution for 90% of hobby photographers is 12 to 24MP. How often do you need the High-Resolution Mode on your Olympus camera?

This article (test) by Chris Hau and his team compares 12MP to 100MP.

EM5 II with the Lumix 12 - 35mm f2.8 lens. ISO200, f3.2, 1/100, -0.3EV. Handheld starlight SCN Mode.

The Average Scene Luminance in the exposure formula (Fig. 2) is proportional to Reflected/Incident Light, time of day, and weather (quality of light). This is why experienced photographers are good at managing and applying the available light. The Aperture and Shutter's role in exposing the sensor is also critical. Photographers use these variables to manage the sensor's Saturation and SNR.

A short summary of the camera's Exposure Variables are:

The Aperture and Shutter Speed expose the image sensor
The ISO setting amplifies (brightens) weaker image signals
Flashes and Diffusers control the Average Scene Luminance
The time of day and the sun change the scene's Luminance
Different materials and colors influence the Reflected Light

Olympus EM1 III with Lumix 12-35mm f2.8 lens. ISO250, f5.6, 1/60, -1EV. Enhanced Raw File converted with Workspace.

Why do I say pixel well-capacity is sales talk? How big are those photons that can't fill M43 pixels? Do yourself a favor and Google "photon size". Did you know that light particles (photons) are way smaller than water or oxygen particles, or image sensors are designed to saturate when they convert enough photons into electrons? For example, low-cost sensors convert fewer photons into electrons. Again well Capacity is only one of several factors influencing the efficiency of image sensors.

Do we need all this knowledge? A general understanding of digital cameras is enough to improve your IQ by more than 1%. Knowledge improved my photography technique and editing style. Knowledge supports demanding blue-hour, wildlife, or high-speed photography like playing dogs. Who benefits from forum dwellers claiming they don't need knowledge? Marketers or photographers?

Figure 2.

The Image Signal Path is the final part of this Technical and Optical summary. The next illustration gives a helicopter view of the image signal path in digital cameras. The illustration is designed to help photographers with the know-how to master key aspects of Olympus cameras and Workspace.

This flow diagram is the key to mastering Workspace and the Enhanced Raw Format.

See this video discussing more advanced exposure techniques.

How important is the Image Processor? The Olympus OMD EM1 II/III and EM1X are good examples of why more powerful and faster Image Processors are significant. These cameras have the same sensor but different Image Processors. While it's interesting to study the specifications and features of these cameras, one only experiences their improved performance levels when using them. For example, the TruePic IX transformed the Olympus EM1 III into a completely different and new camera.

See this video of Chris Eyre-Walker discussing the EM1 II, EM1 III, and the EM1X.

Olympus EM10 IV and 12-45mm f4 Pro. ISO800, f4.0, 1/800. Enhanced Raw converted in WS.

A short history of ETTR and HDR techniques. Camera reviews and forums were reliable sources of information before marketers started the "size and capture" theory in 2012. Social media transformed into "bigger is better" and astroturfing spaces. ETTR and HDR were more popular when theoretical presentations of the image sensor were a priority. For example, ETTR helps us to improve the SNR and Saturation of the sensor, and HDR bracketing gives us more shadow/midrange data (tonal).

Study this link for more information on Stacking, Composite, and HDR features.

Study this link for more information about exposure and tonal data.

What did we learn from this article?

Digital cameras, sensors, image processors, and lenses are complex pieces of equipment. It could take months to discuss all their technical and optical characteristics. The information can be overwhelming and confusing without some basic rules. A good example is forum posters and what they present as critical data. One such basic rule would be to ignore isolated examples with a <1% impact on image quality. We saw that social media promoters "specialize" in isolated or <1% examples.

There are two kinds of photographers today. Those who prepare their photo sessions, become masters of light, and value experience and knowledge. Others post on large forums and expect the sensor to do everything. It's rewarding to follow real photographers and learn why they are successful.

Olympus EM10 IV with 14-42mm f3.5 - 5.6 II lens. ISO200, f4.5, 1/180, -0.5EV.

There is more to digital photography than social media promoters pushing bigger sensors and dynamic range. We also learned it's possible to control the sensor's Saturation and SNR. Finally, it's all about mastering reflected light and the quality of the reflected light exposing the sensor.

I used these light and exposure techniques on my EM10 IV and the Olympus Pen F's monochrome function to convert the raw file in Workspace.

The Olympus Pen F and EP-7 color and monochrome profile options can be used in Workspace for most Olympus Pen and OMD cameras. These options are available via the Enhanced Raw Format. I selected the camera's AUTO Gradation option to prepare the image for my monochrome conversion.

Olympus EM10 IV with 12-45mm f4 Pro lens. ISO200, f5.6, 1/640, -0.7EV, Gradation=AUTO. Monochrome profile in Workspace.

What is your Field of View (FOV) on nature, religion, or politics? Do you let small groups of people limit your FOV with planned narratives or do you spot controlled narratives (realities) and repetition for what they are? Who would have guessed it's possible to improve one's FOV about current events while doing photography? Study this video discussing Astroturfing.

See this article for more on improving your image quality.

Olympus EM10 IV with the Zuiko 17mm f1.8 lens. ISO200, f6.3, 1/400. Enhanced Raw File converted in Workspace.

Final thoughts.

The thought of stepping away from the "size and capture" or any programmed theory is overwhelming. Learning new information and resetting from the constant repetition of modern marketing statements can take a while. Undisclosed or subliminal promotions are popular for their programming qualities on people. The benefits of theoretically supported information are twofold. It simplifies the breakaway process from commercial theories and guides us to what happens inside digital cameras.

EM5 II with the 12-35mm f2.8 lens. ISO200, f3.5, 1/100, -0.3EV. The hand-hold Starlight SCN Mode.

It is strange to see forum posters invest so much time creating negative reports such as Workspace can't render Olympus colors, various problems with Zuiko lenses, the M43 segment having no future, the OM-1 having problems, and older M43 cameras having sub-standard sensors versus the constant repetition of FF sales arguments. Each positive M43 input is followed by negative "reports."

We see the same thing on social media with Fuji cameras. It's a pity that modern marketers deem it necessary to use techniques like Astroturfing. What happened to those honest and creative marketers of yesterday? Why do normal people tolerate repetition, subliminal, and dishonest marketing?

Olympus EM5 II with Lumix 12 - 35mm f2.8 lens. ISO200, f5.6, 1/1250.

It is interesting how discussions disappear from large forums. I suggested that readers compare the Olympus EM5 II to the Sony A7R5. These 2 cameras have identical pixel areas. That means they have similar "well" (pixel) capacities. Forum "Experts" like to repeat that full-frame sensors receive more light than M43 sensors. Experienced photographers will react by saying it's obvious. (lens image circle) I suggested that M43 photographers try older 35mm (OM film) lenses to experience this more light FF benefit of the tiny EM5 II or A7RV equivalent pixel areas. This post was removed.

For example, the EM5 II has 53%, and the EM1 III has 21% larger pixel areas than the X-T5. What does this mean for undisclosed promoters? They will repeat the OM-1 enjoys a 21% pixel area advantage over the X-T5, which means the OM-1 has better Dynamic Range, IQ, color, and less noise.

Pixels capture photons and NOT the size of the sensor's backplate.

How do marketers "manage" programs such as the "size and capture" or "bigger is better" commercial program? Theoretical information counters the programming effect of repetition. Modern marketers are in the business of managing marketing narratives. That's why factual arguments (truth) disappear from social media, and anyone who provides accurate information will be discredited.

Could that be the reason for the increased censoring of so-called...

I prepared a small collection of photos from October and November 2024. They illustrate the basics we covered in this article. The above video has more information about editing these images.