Selling more dynamic range and less noise...

 Last update: 9th July 2026

Should we trust social media influencers repeating full-frame sales lines while reviewing Olympus and OM System cameras? Why is it important to say "FF cameras capture more light?" Shouldn't we reject any form of light not listed in the exposure formula? Why would full-frame advocates reject the idea of using the exposure mix to improve the sensor's efficiency? Isn't the sensor's operating efficiency a function of the exposure mix, or did "capture more light" replace ETTR (saturating the sensor)? While reviewing full-frame theories, guess which camera and lens I used for the posted photos.

Folks, why did Olympus sell an innovative and promising imaging business?

PS. Also, ask why?...if you didn't know it's possible to manage your sensor's efficiency.

The lovely town of Meersburg at the Bodensee. This is a handheld image with an aperture of f6.3 and no focus stacking.

The included photos show the benefits of the "new" digital MFT sensor format and the TruePic imaging process. I converted and prepped these images in OM Workspace. Imagine using your camera's TruePic imaging processor to verify and adjust your camera settings with your PC and Workspace.

Which camera and lens did I use?

Hint:- Consider MFT lenses receiving negative feedback on social media. Why would some reject these great lenses? Start by listing those MFT lenses receiving the bulk of negative feedback...

PS. You will discover great M.Zuiko lenses as you learn to walk away from the noise on social media...

I used the 4/3rds aspect ratio for both the landscape and portrait versions...

Why would FF advocates continue to promote the idea that large sensors capture more light in 2026? One of the reasons marketers created the "bigger is better" theory was the physical size of full-frame DSLRs and lenses. They needed a commercial counter for the high sales Olympus experienced with the innovative designs and the size and weight benefits of the E-M5 and E-M1 from 2012/13.

The capture-more-light theory is critical to FF advocates because it supports the premise of less noise and more dynamic range, which are theoretically linked to the designed saturation level of the image sensor. The exposure formula has 4 exposure variables (shutter speed, aperture, ISO, and the average scene luminance). Three of them directly affect the light exposing the sensor. More FF light implies a saturated sensor. The more-light FF theory suggests that the size of the sensor receives photons and not pixels, which supports the premise that sensors are saturated by the more-light effect. Some promoters won't acknowledge the fact that all image sensors have a noise floor, varying SNRs, and an optimum dynamic range. Is that the reason they like to say knowledge is irrelevant?

PS. It's possible to get the same DR increase and reduced noise effect with MFT cameras and the exposure mix... 

Full-frame sales lines include a shallower depth-of-field (DOF) and the premise of full-frame cameras offering less noise with more dynamic range. Depth of field is an optical characteristic linked to the sensor's image circle, whereas noise and dynamic range are 2 of many technical characteristics linked to the design criteria, manufacturing, and the materials used to manufacture sensors. Think of gold-plated connectors in high-end sound systems versus more cost-effective options.

Instead of exploring digital photography, marketers doubled down on "bigger is better" with programs like astroturfing and repetition. As the 2X focal length and DOF advantage of MFT became a reality, a shallow DOF surfaced for portrait and wildlife photography. The "capture more light" affect emulates a saturated sensor with more dynamic range and less noise. Why not accept basic digital photography principles like having a valid exposure formula and the exposure mix to saturate the sensor?

There would have been no need for this article if it weren't for the constant "bigger is better" noise from photography forums and YouTubers reviewing and discussing Olympus and OM System cameras. All photographers will benefit from more appropriate information about MFT cameras.

PS. Study the photons to electrons graph for more on sensor saturation (dynamic range) and SNR (noise).

I used different picture modes and iEnhance options for my Workspace raw conversions in this article...

I used exposure, iEnhanced options, and tonal controls to "develop" some of these photos...

How do I research marketing trends and the Olympus and OM System digital imaging process? I have an engineering and marketing background, which helps to follow marketing trends and technical points relevant to digital photography. I used to share my thoughts on photography forums. Today I use AI to research technical information and to follow marketing trends. I focus on basic engineering principles as I study and explain digital cameras and the Olympus imaging process. I believe every photographer will benefit from more advanced digital photography principles and accurate information.

Folks, my goal was not to convince you that one format is superior. It's to encourage you to evaluate them as excellent imaging systems consisting of cameras, lenses, and digital imaging processes. Judge them by the joy and enthusiasm for using a specific solution and the photographs they inspire.

See this article and this article for more on image noise and dynamic range.

See this inspirational and amazing video from Emily...

PS. I used the OM-5 with the tiny Olympus M.Zuiko 9-18mm f4-5.6 lens. It should be clear why they reject this lens!

Rediscover your old photos with OM Workspace...

Last Updated: 17th June 2026

My thoughts wandered to the E-3 from Olympus while preparing a reference guide for my Kodak film simulations. Being from South Africa, I have a close connection to typical African colors. For example, I make an effort to visit the places that shaped my color awareness when I am with family and friends in South Africa. My childhood experience with Africa's nature and wildlife reserves, combined with the refined "Kodak" image processing of the E-3, shaped my digital color preferences. Do you experience a similar connection to the colors found in the country or region you call home? For instance, I always associate Switzerland with snow, flowers, happy colors, and deep blue skies. That said, I'm aware that the E-3 has a Live MOS sensor and not the "Kodak" CCD sensor of cameras like the E-500.

The Olympus E-3 with the Zuiko 50-200 mm f/2.8-3.5 lens. I converted the RAW+ file in Workspace.

I recall experiencing exposure problems when I first took the E-3 to South Africa. I couldn't find the reason and filed the incident as unsolved. It felt strange to discover the cause so many years later in Workspace. Olympus introduced the gradation AUTO option with the E-3. It seems like I used the new option without resetting it. Having owned several versions of Photoshop Elements, I couldn't verify my camera settings as we do with the RAW+ format and Workspace. Everything changed when I set the gradation to "normal" 15 years later. See the portrait, wildlife, and Monaco samples below.

Subsequently, I converted more RAW files from other Olympus DSLRs. In most cases, the results were noteworthy after changing settings like picture mode, sharpness, noise filter, color space, and gamma adjustments like curves & gradation. I also discovered several exposure-related mistakes I made in the past. Imagine tweaking and updating your camera settings 15+ years later.

PS. The TruePic processor and image processing became one of Olympus' most critical technologies...

The posted photos are from the Olympus E-3, the 50-200 mm f/2.8-3.5, the 14-54 mm f/2.8-3.5, and the 25 mm f/2.8 lenses. My RAW+ files from 2009/10 were converted and edited in Workspace. My E3 image look and my Kodak guide represent my color preferences. For instance, I adjusted the exposure and tonal values and left the colors as is for the images I posted. I'd like to invite you to practice your color awareness as you do with framing your scenes. Lean on familiar colors as you develop your color preferences. For example, would you add cyan to blue skies, desaturate the greens, or do any specific color changes? I think we will spend more time on color specifics in 2026.

PS. Some of my Monaco photos were taken with the Zuiko 70-300 mm f/4.5-5.6 lens.

E-3 with the Zuiko 50-200 mm f/2.8-3.5 lens. RAW+ converted & edited in Workspace.

Olympus cameras and Workspace never stopped surprising me. I like to keep my photography simple, which is what Olympus did with their cameras and Workspace. It's a process of basic photography and image editing principles, which enable us to have great results with 10MP or 20MP cameras. Imagine the possibilities when we add experience to the mix. What would your advice be if you could highlight one aspect of digital photography? My advice would be to step away from social media influencers and free your digital photography experience from unnecessary advertising and repetition. Imagine having only one camera like the Olympus E-3, E-500, or E-30 with Zuiko lenses and Workspace...

Olympus E-500 with the Zuiko 18-180mm f/3.5-6.3 lens. ISO100, f/6.3, 1/250. RAW+ converted/edited in Workspace.

Folks, consider having cameras like the E-3 or E-500 in 2010 and editing your camera settings in 2026. The strategic future of the Olympus partnership with Kodak and cameras like the OM-3 becomes clear with the tonal and color controls we see from products like the OM-3 and Workspace. The OM-3 is not just another camera; it looks more like the ultimate image plus Kodak color solution.

PS: The images in this article are best viewed on a large PC display such as the iMac 27"

Something special about the colors in these images...

Monaco - here are a few more Olympus E-3 photos

I am more comfortable photographing in the southern parts of Europe.