The 8 nuances influencing your exposure mix

Last updated:- 8th July 2025

The subtle benefits of an inclusive approach to assessing the unique nuances of the digital exposure mix are overshadowed by marketing initiatives, the transition from analog to digital cameras, and the commercial focus on the camera's image sensor. A fundamental analysis of theoretical principles revealed that the emphasis on the image sensor often overshadows the benefits of a more inclusive approach to the digital imaging process, creating the right exposure mix, and how we utilize these exposure nuances to improve our digital photography results and overall experience.

Most photographers are introduced to digital photography through the lens of the exposure triangle, which defines the aperture, shutter speed, and ISO. Photographers are generally advised to keep the ISO value low, as higher "sensor sensitivities" could lead to unwanted image noise. The aperture and shutter speed ratio not only influence the exposure mix, they also guide optical effects such as depth of field, while varying shutter speeds express movement in the scene. 

This mainstream view of the exposure triangle gave modern marketers a significant advantage. For instance, would you classify the exposure triangle as leaning more towards analog or digital cameras? It is worth considering that modern marketing campaigns tend to include elements of truth while omitting critical details. The illustration below offers photographers a more detailed overview of the exposure nuances and digital processing of the image signal inside the digital camera.

Figure 1.

Most digital photographers are familiar with the journey of mastering the dual purpose of the shutter and aperture mix. Achieving the perfect exposure mix includes optical effects such as background blur or the interpretation of moving objects, which demands both experience and regular practice to eventually become a natural routine. You may be surprised at how quickly one learns to add sensor and gamma controls to this traditional process of finding the ideal exposure and tonal mix.

The 8 unspoken nuances impacting your camera's exposure mix:

1. There is way more to the camera's sensor than its diagonal measurement.
2. Each digital camera (sensor) has unique technical and optical limitations.
3. We use the aperture and shutter to expose and saturate the image sensor.
4. The ISO amplifies the image signal; it does not adjust sensor sensitivity.
5. It's crucial to master technical aspects like saturating the sensor and SNR.
6. Consider and manage the 4th exposure variable; Average scene luminance.
7. Managing the camera's sensor improves dynamic range and image noise.
8. The unique difference between the exposure mix and tonal adjustments.

I converted/edited this EM5 II enhanced raw file in Workspace. I used tonal adjustments to finalize the look.

The above flow diagram (Fig. 1) illustrates the image signal path from the lens to the final JPEG. My advice is to familiarize yourself with this illustration. The following points are helpful:

• The shutter and aperture control the reflected light to the sensor.
• We manage the avg. scene luminance with a flash or the time of day.
• The ISO amplifies the image signal and noise from the image sensor.
• The TruePic image processor manages the image creation process.
• The gamma curve converts the linear sensor data to a human format.
• The gamma Gradation feature also controls the exposure controller.
• The enhanced raw format links the TruePic processor to Workspace.
• Fixing the ISO to monitor/control the reflected light to the sensor.

A basic version of this Olympus know-how applies to all digital cameras. For instance, similar to the Olympus gradation function, Fuji has DR100, DR200, and DR400, and Canon has the Auto Lighting Optimizer. Tonal or gamma controls include shadows, highlights, and midtone adjustments, plus the tone curve option of Workspace. For more in-depth articles on these topics, refer to this link.

Workspace is a great RAW converter for the Olympus photographer. It has a full range of raw controls and is one of the best options to familiarize yourself with the enhanced raw format. I also prefer the AI noise filter of Workspace (WS) when possible. Please take note that while Workspace will show no clipping, other raw converters seem overly eager to highlight "overexposed" areas.

Study my articles on exposure and the photons-to-electrons graph and how we apply this knowledge to control the sensor's saturation and signal-to-noise ratio (SNR). The photons-to-electrons graph also has more info about the sensor's noise floor and how we plan/control noise and dynamic range.

In the past, I stated that this know-how is enough to significantly improvement your digital results. I often reflect on that assertion and wonder if I may have been overly optimistic. As I experimented with high dynamic range scenes for this article, I was reminded of how quickly these new sensor and tonal considerations became an instinctive part of determining my final exposure mix.

I'd like to offer some general tips to enhance your digital photography experience. One key piece of advice is to steer away from forums and camera reviews, as they tend to become echo chambers that primarily advocate for cameras with larger sensors. This emphasis on the sensor can create the perception that the image sensor is solely responsible for the digital image creation process.

I plan the processing of my raw files while setting my camera's exposure mix. This includes tweaking my exposure with the exposure compensation slider in the camera and Workspace. This is followed by tonal and color tweaks, including image contrast and sharpness with the tone curve function. The primary goal of tonal adjustments is to highlight the natural lighting variations in the scene.

I converted this EM5 II raw file in PhotoLab 7.

Many photographers underestimate the depth of field advantage of M43 cameras. Selecting the right aperture/focusing ratio is enough to gain two or more stops with the final exposure mix. This gain simply relates to more control over dynamic range, noise, and the recorded tonal data.

Here are the general steps I follow to set and finalize my exposure mix:

• I mainly use Aperture or Shutter Mode with a fixed ISO.
• Learn how to leverage the DOF benefit of M43 cameras.
• Use IBIS to benefit your shutter/aperture exposure mix.
• Select the right focus point to extend the in-focus area.
• Practice how to gain 1 to 2 stops without upping the ISO.
• Study this article for more about the Gradation function.
• My final camera exposure settings are 98% optimized.
• This includes specific gradation options for the camera.
• That means I only do tiny exposure corrections in WS.
• With practice this quickly becomes a natural process...

Exposure settings and tonal adjustments are two different things. The Gradation function does have a link to the camera's exposure controller, which lets us use the gradation function to alter the camera's gamma curve and to prevent clipping. Tonal adjustments like shadows, midtones, highlights, and the tone curve function in Workspace let us paint with light or tweak the scene's natural lighting.

A final image from the Olympus EM5 II with the M.Zuiko 25mm f1.8 lens. I converted the enhanced raw file in Workspace.

The average dynamic range and noise differences between digital cameras are one to two stops. As one gains experience, it is evident that the ongoing sensor focus overshadows the significance of the sum of the camera, the lens, the sensor, the image processor (firmware), and the photographer's part in executing the right exposure and tonal mix ratios to produce great results. 

See this link for more on these digital camera differences.

Siegfried

Having fun with the original Olympus EM1

Last Update:- 12th June 2025

Given social media statements and a general focus on sensor size, one would question my enthusiasm for an M43 camera released in 2013. The Olympus E-M1, which remains a remarkable camera in 2025, highlights this distinction. While preparing this article, the E-M1 reminded me why Olympus cameras became so popular. By adopting a philosophy that diverged from the trend of prioritizing the sensor, Olympus acknowledged that all sensors are subject to optical and technical limitations. This mindset empowered the Olympus engineers to develop more innovative solutions to effectively address and leverage these inherent sensor limitations and qualities (strengths and weaknesses).

This article reviews these technical versus optical limitations.

Image noise amplifies the significance of acknowledging the distinction between the sensor's optical and technical attributes. Social media experts often advocate for FF cameras as a quick remedy for noise. Olympus opted to create more efficient solutions because they recognized that all sensors have a noise floor. For example, I rarely need third-party AI noise filters for my Olympus RAW files because knowledge combined with the standard and AI noise filters from Olympus are good enough.

I converted the enhanced raw file in Workspace. The E-M1 has excellent IQ with a natural balance between an analog feel, color, and detail.

In-body image stabilization (IBIS) illustrates how Olympus became a market leader in navigating the technical challenges associated with image sensors. For instance, photographers can achieve up to a 2-stop noise improvement with IBIS and the depth-of-field advantage of M43 cameras. This simply means upping the sensor's saturation and a higher signal-to-noise ratio (SNR). Computational features offer similar benefits. Old-school options, like a tripod let us position the camera more accurately, control camera movement (zoom lenses), and/or increase the reflected light to the sensor.

These basics help us when photographing with cameras like the E-M1, because the E-M1 sensor does have a larger noise floor with more visible noise at lower SNRs when compared to the sensors in the OM-1 and E-M1 III. I used the camera's "Low" Noise Filter for all the photos in this article.

The OM System OM-3 with the M.Zuiko 40-150mm f4-5.6 lens.

This article merely touches on the creative potential photographers enjoy with an Olympus E-M1. It is remarkable that a small M43 camera from 2013 delivers such beautiful photos at current used rates. Notably, many may not know that the Olympus E-M1 received its final firmware update in 2019 and already offered computational features in 2013. I will outline some features that could enhance your macro photography, as well as the photography styles showcased in this article.

The following features are unique to the Olympus E-M1:

• Top-down EVF option - this is unique to Olympus M43 cameras with an accessory port.
• The macro arm LEDs (MAL-1) is unique to Olympus cameras with an accessory port.
• The Photo Story feature of the Olympus E-M1. See the final two photo examples.

Features common to most Olympus M43 cameras:

• ART filters (Several examples were done with ART filters)
• Color Creator (I used the Color Creator with some images)
• 2X Digital Zoom at full resolution
• Color profiles (Adjust color function)
• Black and White or Monochrome options
• Focus Stacking with the E-M1, Photoshop, or Workspace
• LIVE Composite (Painting with light)
• LIVE Time
• Flash remote control (RC)
• Live View Boost
• S-OVF
• Exposure Shift
• Selective AE and AF options
• 2 second timer
• Video

Olympus designed Workspace and the enhanced RAW format as unique enablers for Olympus M43 photographers. They encourage more image and creative control by letting photographers tweak their camera settings when converting Olympus RAW files or editing JPEGs on personal computers. Older M43 cameras like the Olympus E-M1 and E-M5 II share a unique advantage when shifting from a sensor size focus to a more hands-on or practical approach to digital photography.

The original Olympus E-M1 does have a quality concern. Early production runs of the E-M1 had issues with the control dials, leading to failures. In response, Olympus issued a formal notification and provided complimentary replacements for the affected dials. Unfortunately, not all E-M1 owners took advantage of this repair offer. Therefore, it is advisable to verify the status of any used E-M1 dials before purchasing. Additionally, updating the firmware is recommended, as it unlocks more features and functionality. See this article for more on firmware updates.

What is the most important lesson we learn from photographing with the E-M1? Older cameras like the E-P3 or the E-M1 reveal that the notion of achieving perfect image quality is a myth. For instance, when using the E-M1, technical aspects such as dynamic range, noise, and image quality often took a backseat in the creative process. Instead, I found joy in leveraging the E-M1's technical limitations to better express my artistic vision. This approach invites contemplation on the creative possibilities that can emerge when we adopt a similar mindset across all types of cameras.

It's not the camera or the lens telling the story...

Last Update: 31st May 2026

As the years pass by like chapters in one's book of life, I find myself reflecting more on the paths I chose in life. In my youth, I consciously opted to turn away from the idea of a rainbow nation. Twice the Lord granted me the incredible opportunity to work overseas. Consequently, my children spent a significant portion of their formative years in the majestic landscapes of Switzerland. Now, as my wife and I approach the twilight of our lives, we look forward to drawing nearer to our children, who have embraced their new Swiss identities, becoming more Swiss than South African.

Taken with my 8MP Konica Minolta Dimage A2. A lovely scene at the Kruger National Park in South Africa.

As I paged through my image collection, the warm melodies of CDs I'd crafted from my cherished LPs filled the air. The music, rich with that classic vinyl essence, resonated beautifully through my Ken Ishiwata Marantz CD player. I couldn’t help but wonder how much joy these timeless LPs would bring me today. What a stark contrast to the moment I decided to part with my entire vinyl collection. Little did I know just how dearly I would come to miss those beloved melodies.

As I flipped through my images, a wave of emotion washed over me, harmonizing with the gentle tunes emanating from my "vinyl" collection. Each image has its own story, transforming moments into memories. This journey of revisiting our photo collection felt like a unique moment with each photo, whether it was taken with my Pentax SLR or one of my digital cameras. What a captivating journey that intertwined my past and present, with a delightful symphony of sight and sound, until...

I took these with my Pentax SLR. A modified Thorens on the left and my own design and built on the right.

My wife and I shared a passion for photography, resulting in a vast trove of film negatives and prints. About 8 years ago, I purchased a scanner to breathe new life into our analog collection. The journey of scanning and editing our negatives unfolded in a way that was worlds apart from the familiar territory of digital photo editing. To my surprise, my knowledge and experience with Olympus , along with my expertise in using Workspace, greatly improved my analog image processing.

I took this image with my Pentax SLR and edited the scanned negative in Photoshop.

I took this picture with my Canon 350D. My wife and I grew up in the outskirts of the lovely city of Pretoria. 

My wife and I are devoted Christians. We married 40 years ago in Pretoria and raised two children.

I took this image with my Pentax SLR. Durban was always a popular and safe holiday destination.

Shortly prior to leaving South Africa for the first time.

I took this image with my Canon 350D. In 2000, we made the decision to return to South Africa.

I took this image with my Pentax SLR and edited the scanned negative in Photoshop.

I took this image with my Konica Minolta A2. We were happy seeing our relatives again. This is the Hartbeedpoortdam area.

I took this image with my Canon 350D in the Hartbeespoortdam area.

I took this image with my Canon 350D in the Hartbeespoortdam area.

I took these images with my trusty Pentax SLR. These were son and dad boat projects.

My wife took this image with her analog Olympus Mju.

I took this image with my Pentax SLR. My father and mother with 3 children (families) and 5 grandchildren.

Out of a family of thirteen, four members will remain in South Africa. Through hard work, we have excellent educational backgrounds, talent, and experience, all motivated by a commitment to invest in our country and contribute to the development and the well-being of all its citizens. However, we have been confronted with the difficult choice of embracing a new culture in pursuit of a safe future for our children. Despite the challenges, our love for Africa and its people never changed.

Lüderitzbucht, Namibia. I cannot help to think we have such awesome digital cameras today...

I took this image with my Pentax SLR. My grandparents immigrated from Germany to South West Africa (Namibia today).

It’s hard to imagine a South African family that hasn’t lost loved ones to violence or faced the trauma of horrific incidents like sexual abuse, carjackings, or home invasions. As the country marks 31 years since apartheid, it finds itself on the brink of an economic collapse while being hampered by 145 discriminatory laws preventing minorities from partaking in the country's job market. The grim reality of violent farm attacks continues to linger in the shadows, often downplayed and misreported as mere theft, yet the pain and suffering of farmers resonate tragically throughout our farmlands.

One left South Africa, and the other family became another statistic of "theft."

We never intended to leave South Africa for a second time, but life took an unexpected turn when I received an offer from Switzerland. One evening, as I was reflecting on our future, an unimaginable tragedy unfolded nearby. Three girls were left in the care of their grandmother when their parents returned from work. Tragically, with the parents being tied down in the garage, the grandmother was powerless to intervene while the three innocent girls suffered a horrific ordeal inside the home. It was in that moment, as I looked into the eyes of a girl who had endured such tragic suffering, that I realized it was time to seek a new beginning for my family. The journey away was not one of choice but rather a response to the painful injustices that plagued our beloved country for 31 years.

In the heart of the Oval Office, a spark of hope flickered to life as the President of the United States greeted the President of South Africa and his entourage. However, that glimmer quickly faded as the world’s media unleashed a troubling spectacle casting doubt on the foundations of an independent media. Our prayers are with fellow South Africans during this tumultuous time, as many struggle to comprehend the far-reaching consequences of this most recent journalistic catastrophe.

Our son and his family live in Switzerland, while our daughter returned to South Africa. Like many South Africans, she and her husband pursued opportunities abroad, leveraging their qualifications to build a new life in Australia. South Africa had a recorded population of 17M in 1981, and by 1994, a remarkable 95M participated in the country's inaugural free and fair elections.

Julius Malema chanting, kill the boer, kill the farmer. Source video (Newsline SA)

In a realm where tales of anguish fade into silence, the true extent of the oppression directed at cultural minorities remains elusive. South Africans navigate through unthinkable suffering, a reality marked by relentless brutality and violence, compounded by the disintegration of families. All of this unfolds beneath the watchful eye of an independent global media. Yet, in our current climate of doubt and skepticism, one might be tempted to downplay these horrors as mere petty theft or dismiss them as just another conspiracy woven into the fabric of religious and family values.