The Olympus E-M5 III with the 12mm f2.0 M.Zuiko lens. ISO5000, f/2.8, and 1/250th. I converted the RAW+ file in Workspace.
I am working on a short introduction for my next YouTube video. While the planning and taking of the photos was fun, it feels like something is not right with the above scene. I also tweaked my camera settings and the noise filters while converting the enhanced raw file in Workspace. You are welcome to comment. Would you rather photograph or film the flying cars with your OM-3? Which one is a more practical photo camera for this project, the OM-3 or the E-M1 III (OM-5)? Email me if you'd like to do a similar "high-speed" scene. It will be great to show more examples in this article...
As you can see, I had many questions and unknowns on day one.
Tip: Study the camera settings below each image...
OM System OM-3 with the 12-50mm f3.5-6.3 EZ M.Zuiko lens. ISO800, f/6.3, 1/8th sec. 80MP High-ress, AI noise filter at "Low" in Workspace.
The more I learn about this application, the more I realize it's not simply a quick intro for a future YT video. For example, I seldom use more than the camera's "Low" noise filter or the Workspace AI noise filter. The intro E-M5 III photo is one of only a few times I had to use the "Standard" AI noise option in Workspace. The bright areas were clean while the shadows were simply too noisy.
Four exposure variables and one fixed (constant) variable.
The challenge is higher shutter speeds, lower ISOs, and more luminance onto the sensor, which feels like an impossible task with my current home studio and available LED lighting options.
List the typical challenges one could expect from a scene like this?
26th August 2026 - Day 2:
OM System OM-3 with the 35-100mm f2.8 Lumix lens. ISO3200, f/2.8, 1/500. I used the "Low" AI noise filter option in Workspace.
It's a mistake to encourage photographers to purchase expensive Lumix or Leica lenses for Olympus or OM System cameras. I own some inexpensive and used Lumix/Leica lenses, like the 25 mm f1.4, the 20 mm f1.7, the 12-35 mm f2.8, and the 35-100 mm f2.8 lenses. The risks of using these lenses with Olympus cameras are potential incompatibilities and high-performance issues. For example, the OM-3 prevented me from using some of the pro capture options because my Lumix 12-35 mm and 35-100 mm lenses are incompatible with some of the more advanced pro capture options.
OM System OM-3 with the 12-40mm f2.8 Pro lens - ISO3200, f2.8, 1/500.
I did several changes to the above OM-3 layout. The challenge with the E-M5 III image was a weaker average scene luminance (the "4th" exposure variable). I optimized the above scene and camera/lens layout, camera angles, and my selection and configuration of light sources. I am slowly getting closer to a working setup that could perform well as an intro scene for my next YouTube video...
List 5 improvements I made to improve the above scenes.
27th August 2026 - Day 3:
Olympus EM-1 III with the 12-40mm f2.8 Pro lens. ISO2500, f/3.2, 1/1250. The RAW+ file was converted in Workspace.
My relatively new home studio, reviewed in this article, is perfect for static scenes. High-speed action scenarios require more planning and experience. The challenge is to systematically apply the digital imaging basics explained in my blog articles. This project has proven to be an excellent case study to explain the advantages of theoretically correct and accurate information. For example, if needed, an equivalent depth of field requires ISO 10000, f/6.3, and 1/1250 on full-frame cameras. Having 2 stops less reflected light onto the full-frame sensor means lower SNRs and more noise.
The alternative to noise is to increase the average scene luminance by 2 stops. One therefore has to double the light at each stop, which is easy when starting at the native ISO. It is more difficult when doubling the light a third or fourth time. One quickly reaches the point of considering the actual cost implications of being an enthusiast or professional photographer. The challenge social media experts have in 2026 is segmenting products and discussing photography more realistically.
28th August 2026 - Day 4:
Olympus EM-1 III with the 12-40mm f2.8 Pro lens. ISO2500, f3.2, 1/1600. The RAW+ file was converted in Workspace.
It took almost two weeks from starting the project to having this photo. It's one of my most exciting projects with Olympus cameras. The practical application of illumination, sensor saturation, and a high-speed action scene is exhilirating. My final strategy focused on every aspect of the depth of field and light reaching the sensor. That means I applied most of the available illumination to a tiny area consisting of moving cars while using an alternative strategy for shadow areas. I couldn't use gamma options like "AUTO" gradation because the contrast between the illumination of moving cars and the darker areas worsened my SNR delta. The final phase in this project starts tomorrow.
Here is a list of my home studio lighting equipment:
2x Rotolight Neo II LED lights with stands
4x SmallRig Mini LED Video Lights with tripods
One of the first (small) Aperture LED lights
Diffusers and color filters as needed
Olympus EM-10 IV with the Leica 25mm f1.4 lens. ISO800, f5.0, 1/50. The RAW+ was converted in Workspace and edited in Affinity.
29th August 2026 - Day 5:
Post processing and preparing the intro scene with Affinity and Final Cut Pro will take a day or two. The images below were taken with the Olympus EM-10 IV and the M.Zuiko 60 mm f/2.8 Macro lens and the Leica 25 mm f/1.4 lens. I converted and edited the enhanced raw (RAW+) files in Workspace. The Olympus EM-10 IV is a great camera with excellent image quality for everyday photography.
All the high-speed sequential photos in this article were done in silent mode at 30 fps.
I created the above timelapse from a series of 11x RAW+ files in Workspace. The EM-1 III was in high-speed and silent sequential mode. I converted, edited, and cropped the RAW+ to the 16:9 ratio in Workspace. The final and full intro scene is surprisingly short for the effort it took. I used a mix of pre- and postprocessed content. All the images were converted and edited in Workspace.
See my next video for the final results and more information.
My plan was always something special about the Stylus X-series from Olympus. Considering my most recent article and having used the Stylus X-series more frequently over the past few months, I thought the combination of a smaller "high-sensitivity" sensor with a deeper depth of field (DOF), the TruePic image processor, and Zuiko lenses is perfect to summarize the exposure mix and DOF conversation. While preparing for the article, I studied the Stylus X-series press releases. It's fascinating how much easier it is to study Olympus press releases with the information on this blog. This article takes a new look at the Stylus X-series and why Olympus decided to use "high-sensitivity" sensors, top quality Zuiko lenses, and micro-four-thirds (MFT) TruePic image processors.
Marketers managed to establish a shallow depth of field as a de facto standard. Everything changes as we step outside this standard, turn around, and view the world from a deeper DOF perspective. For example, the Stylus X-series has a 2.25x deeper DOF over MFT and a 4.5x advantage over FF sensors. Package this information with high-sensitivity sensors and Zuiko lenses like the 28-300mm f2.8 and 28-112mm f1.8-2.5, and we are looking at a surprisingly capable range of compact cameras.
PS. The images in this article are best viewed on large displays similar to the iMac 27".
See the article describing my "new" home studio for more on how I create images like these...
The common thread differentiating the Stylus X-series was the introduction of iZuiko lenses and how Olympus targeted DSLR photographers as a Stylus customer segment. It explains the iZuiko lenses with matching TruePic processors and high-sensitivity "pro-level" sensors. The result was a superb range of compact cameras. What a joy to rediscover these nearly 20-year-old cameras in 2026.
The Stylus XZ-1, with its 10MP CCD sensor, and the XZ-2 and 1s, with their 12MP BSI sensors have high sensitivities and a smaller noise floor with fewer megapixels. The XZ-1 has the same TruePic V as PEN cameras, and the Stylus XZ-2 and 1s have the same TruePic VI processor as the EM-5. The Stylus 1s has the same EVF as the EM-5, and the XZ-1 and XZ-2 have an auxiliary port for optional EVFs.
One of the more practical aspects of these cameras are the Enhanced Raw Format and Workspace. The Stylus X-series raw files have the same functionality as MFT raw files. There is more to discover about these Stylus X-series cameras, TruePic image processors, iZuiko lenses, and the MFT menus and functionality. See the Olympus global news page for the press releases of these cameras.
The TruePic VI image processor introduced several new features and technologies, such as shadow and highlight adjustments, fine detail processing, real color technology, and iHS (intelligence, high speed, and high sensitivity). I am always surprised by the unique Kodak color signature of my Olympus JPEG files and converted Workspace RAW files. Study the above illustration for more about TruePic image processors. Also, study the Stylus XZ-2 press release for more information.
The Stylus X-series mirrors an interesting phase in the evolution of Olympus cameras, which includes the image creation process, the enhanced raw format, and the user interface. Today we have access to the exposure controller, the image creation process, tonal or gamma controls, and basic editing settings in the camera and in Workspace. Basic image settings like saturation are permanent, while tonal adjustments are part of the imaging process and non-destructive. One can also see the evolution of tonal adjustments from the initial live guide option of the XZ-1 to a basic RAW+ version of shadows and highlights in the XZ-2 and the final version of highlights, "midtones," and shadows in the Stylus 1s. One can literally write several articles about the Olympus evolutionary process.
Stylus XZ-2. The RAW+ file was converted in Workspace. I tweaked the exposure, image creation, and gamma curve settings.
An exciting aspect of discovering the Stylus X-Series compacts from Olympus is new information about the enhanced raw format (RAW+). I always thought it was a great idea to give photographers access to the camera's image processing settings in Workspace. What I never considered was the concept of so-called nondestructive versus permanent adjustments in the camera and in Workspace.
PS. Did you know that commercial raw converters do not have access to the "embedded" Olympus settings and the Kodak look?
Olympus Stylus XZ-1. The RAW files were converted in Workspace and prepped in Affinity Photo 2.
Commercial priorities disproportionately push photographers to expose for highlights in an attempt to manage high dynamic range scenes. The mainstream view suggests only some suppliers have reliable or capable cameras. It's fascinating to see social media influencers hyping about dynamic range and noise without offering any proven controls for clipping or noise. One of the most reliable options is HDR (high dynamic range) photography. How many photographers are encouraged to explore the advantages of HDR photography, or are simply discouraged? Older photography magazines uniquely highlight the digital "discovery" phase leading up to 2012, which was free from narratives relying on physics or "the science." Folks, I am working on a dedicated article about HDR photography.
PS. See my next YT video for the reasons I never "exposure for highlights..."
Stylus 1s - I created the black & white version and the HDR image from a raw file in Affinity photo 2.
The reason I continued doing HDR photography is the creative side of photographing and processing HDR images. It requires a basic understanding of the sensor, painting with light, bracketing, and tonal controls. HDR photography is fun and highly recommended. Interestingly, the Stylus XZ-2 received the first HDR options from Olympus, which is uniquely different from HDR1 and HDR2.
Taken handheld with the Stylus 1s. The HDR image was done with Affinity and 3 bracket raw files.
A thorough understanding of the sensor and the exposure mix is more valuable than purchasing new cameras to overcome clipping and image noise. For example, familiar sensor limitations are not the only reason for clipping and noise. Variables like the sensor's exposure, ISO amplification, and image editing could also cause clipping or more visible noise. Techniques like HDR, ETTR, the exposure mix, and managing your scene luminance are proven ways of getting better image quality.
The shallow DOF commercial program was so effective that reviewers wouldn't entertain the idea of a 2-stop advantage when OM System introduced it with the Olympus OM-1. A deeper DOF supports lower ISOs with more flexible exposure options in low-light and deeper DOF applications. It also explains the 4.5x deeper DOF and ISO benefits of the Stylus X-series over FF cameras. Does this mean the X-series is better than MFT or FF cameras? No, they simply have a different and wider range of applications. A shallow DOF is typically associated with portraits, weddings (events), and the "cinema" look.
It's an interesting process of rediscovering the Olympus Stylus X-series with this information. The high-sensitivity X-series sensors deliver excellent results at the right exposure mix. The deeper DOF of these Olympus X-series cameras is something everyone should experience for themselves.
Stylus XZ-2 - This is an example of how much usable data the 12MP BSI sensor captured in the shadows.
Why would Olympus talk about "high-sensitivity" sensors in press releases? Sensor sensitivity is a function of the sensor's optical and quantum efficiencies. High-sensitivity or pro-level sensors are not an accident, as they are specifically selected for enthusiast or pro-level cameras. High-sensitivity sensors typically offer higher photon-to-electron conversion rates and a lower noise floor.
PS. I often refer to optical and technical (quantum) efficiencies in my articles. Quantum reminds me of "the science or physics."
What is the exposure mix? It's a basic process of managing 4 exposure variables: aperture, the ISO, shutter speed, and the avg. scene luminance. The goal is to "manage" the reflected light exposing the sensor. See the photons-to-electrons graph. A saturated sensor simply means more dynamic range and less noise (higher SNRs). The focus is shifting from discussing the problem to managing the solution. Marketers, unfortunately, promote sensor size as the best option for "more" image quality.
Should I, therefore, change my photography style? A basic understanding of the image sensor and a higher awareness of the exposure mix are enough to benefit our image quality. Low-light and complex lighting situations are typical scenarios for managing the exposure mix more actively.
PS. The bracketed images in the above HDR examples were all handheld images from the Stylus XZ-2 and 1s.
Olympus Stylus XZ-1. The RAW files were converted in Workspace and prepped in Affinity Photo 2.
The Stylus X-series allows more opportunities for travel, macro, street, and landscape photographers. For example, the iZuiko 28-300mm and sensor combination is so impressive that one could compare it to the M.Zuiko 40-150mm f/2.8 lens. What makes the iZuiko 28-300mm f2.8 lens so impressive is the physical size of the Stylus 1s. No one would expect the capabilities of this camera in the hands of a street photographer. The Stylus XZ-1 and 2 are as impressive. The reach, lower ISOs, and deeper DOF of these cameras are perfect for most travel, scenery, macro, and street photographers.
The images in this article are a testimony to the joys of photographing with the X-series. You will see from my camera settings that I don't change my exposure mix for every image. The exposure mix is critical but also another step in broadening our photography skills. I generally use aperture priority and set my camera's exposure mix as I leave my home. Some of the images were taken after sunrise or prior to sunset. See the focusing info from Guido van de Water in this video.
I used the "low" noise filter for all these images and the AUTO gradation option for some. I normally select the camera's WB values in Workspace, but in some cases I will use another option from the Auto WB menu. I will edit some of my posted Berlin images in my next YouTube video.
Best
Siegfried
Olympus Stylus XZ-1 - ISO100, f3.2, 1/500. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus 1s - ISO100, f4.0, 1/1000. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-1 - ISO200, f4.0, 1/80. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 - ISO200, f4.0, 1/50. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Olympus Stylus 1s - ISO100, f4.4, 1/640. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus 1s - ISO200, f4.5, 1/400. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 - ISO100, f4.0, 1/200. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 - ISO500, f4.0, 1/40. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Olympus Stylus 1s - ISO100, f4.5, 1/100. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus 1s - ISO100, f4.0, 1/400. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 - ISO100, f4.0, 1/200. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 - ISO100, f4.5, 1/640. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Olympus Stylus XZ-2 - ISO200, f4.0, 1/200. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus 1s - ISO400, f4.5, 1/250. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-1 - ISO100, f4.5, 1/400. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus 1s - ISO250, f4.5, 1/250. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Olympus Stylus XZ-2 - ISO100, f4.0, 1/500. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus 1s - ISO100, f4.5, 1/80. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-1 image. I created this HDR image from 3 handheld bracketed exposures in Affinity.
Stylus 1s - ISO100, f4.5, 1/100. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Olympus Stylus XZ-2 - ISO100, f4.0, 1/1600. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 image. I created this HDR image from the raw file in Affinity Photo 2.
Stylus 1s - ISO200, f4.0, 1/4320. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Stylus XZ-2 - ISO100, f4.0, 1/1250. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
Olympus Stylus 1s - ISO800, f3.2, 1/600. The RAW file was converted in Workspace and prepped in Affinity Photo 2.
