Many photographers convert and edit their raw files with the same software. PhotoLab and Lightroom are examples of converting and editing raw files with the same applications. While safe for accurate White Balance and evenly exposed raw files, converting your Olympus raw files in Workspace and editing the 16-bit Tiff in Photoshop is often a more rewarding editing strategy.
We are studying an example of converting and editing the same raw file with different applications. You should know I used the same White Balance for the various raw converters in this article. My default Color Space is typically RGB for my raw files and SRGB for the web.
Olympus EP-7 with 12-45mm f4.0 lens - Out of the camera jpeg (ISO200, f5.0, 1/100).
The above scene had more shadow detail in real life. It's easy to assume there was no reflected light from the shadows when viewing the JPEG. No reflected light means no image, no matter how hard we push the ISO. The example below is an edited version of the above JPEG. Did the camera capture or process too few color details, or will the Enhanced Raw File reveal more color information?
This is the OOC Jpeg. I increased the shadow brightness with PS.
The Enhanced Raw Format plus Workspace lets us extract more image information from the captured raw data. The key to success is the Exposure Mix we applied with the camera, the Truepic Processor, and its similarities to the Image Processor in Workspace. The Olympus Enhanced Raw Format is unique and helps us to evaluate and adjust most of our camera raw settings in Workspace.
For example, we can fine-tune the camera's exposure compensation in Workspace. That means we can verify our White Balance (18% Gray) and "Gradation" (Gamma) settings in Workspace. See the ETTR technique in the next paragraph. See this article on how to use the Gradation function.
The Gradation "High" option automatically selects the best ETTR values for your image. Think of the Olympus Gradation function as another variable in your exposure mix. You should always ask, how can I improve my image sensor's output signal, and how do I finalize my neutral gray values in Workspace? How do we reset the camera's Gradation values in Workspace? Simply select the default "Normal" option in Workspace. This will reset your image and the final tonal values to neutral gray.
Why would one use the gradation function with techniques like ETTR? We learned the image sensor does better when it is saturated. It's sometimes better to prioritize the sensor's saturation and SNR values over an accurate Neutral Gray in the camera. Think of low-light or high-contrast scenes.
It's good to prioritize Tonal Data with the camera. This is something we will review in more detail in the future. For example, how many of you worked with the Gamma function in Olympus Viewer 3? Those reading my articles can explain the Gamma function and the benefits of using ETTR.
Also, study my article explaining the Gradation function and this article by Adobe.
It's also good to always keep a Polarizing Filter (PF) in your camera bag. Use it on your camera with the Gradation "High" option to control or cancel any reflections from water or bright surfaces. For example, why does the Spider Cube have a little chrome ball on the top of the cube?
The images below are illustrations only.
Olympus E-P7 with 12-45mm f4.0 lens - Enhanced raw file converted in Workspace (ISO200, f5.0, 1/100).
The real benefits of the Enhanced Raw Format are Step 2
The converted 16-bit Tiff files are edited in the 2nd step. It's normal for more advanced image editing techniques with more image data. Workspace (image processor) and Sensor Sensitivity (captured details) enable us to extract more image data from our Enhanced Raw Files. We know the Olympus Live MOS sensor is more sensitive than Standard CMOS sensors, and BSI sensors further improve the Optical Efficiency of the sensor. BSI sensors are more sensitive than Live MOS or Standard CMOS sensors. High-sensitivity sensors are known for their ability to capture more shadow detail.
More image data and 16-bit Tiff files enable us to apply more advanced image editing techniques, like editing parts of the image separately. The image below is an example of using different editing techniques for the shadows and the brighter parts of the photo. I upped my shadow brightness in Photoshop. The ability to divide and mask the image improves with new editing software.
It's also good to treat sensor sensitivity and image noise separately. For example,all image sensors come with a noise floor. The sensor's saturation level (exposure) and SNR are responsible for any visible image noise. Olympus gave us several options to control and manage image noise. See this excellent video. Unfortunately, the presenter did not add the Exposure Mix to his list.
Olympus E-P7 with 12-45mm f4.0 lens - Raw file converted with Photoshop 2023 - (ISO200, f5.0, 1/100).
I never use Lightroom because my preferred Adobe application is Photoshop. I like Photoshop for my raw, jpeg, and 16-bit Tiff files. Photoshop 2023 seems better than previous versions, especially with Olympus raw files. The 2023 version of the Adobe Raw Converter also improved a lot.
Adobe said my perfectly working iMac (2014) is too old for Photoshop 2023. I decided to upgrade to a "new" Intel iMac. See the article here...
Olympus E-P7 with 12-45mm f4.0 lens - Raw file converted in PhotoLab 5 - (See the color cast on the house ).
Olympus E-P7 with 12-45mm f4.0 lens - I converted this raw file in PhotoLab 6.1 and edited the Tiff file in Photoshop.
The ClearView Plus setting is a powerful option for PhotoLab and the main difference between the above 2 images. The default value for Clearview is more aggressive, whereas mine is softer. This is also a "point-and-shoot" image and not a textbook example of optimizing the exposure mix.
Fuji X-T4 jpeg file in a similar scene. I upped the brightness in PS.
What do we learn about the Olympus EP-7?
The sensor received two different exposure levels in this example. The sensor was less saturated in the shadows with a lower SNR, less tonal data, and more visible shadow noise. The brighter areas saturated the image sensor, with less noise, more tonal data, and a higher SNR. What happens if I increase my exposure mix (shutter and aperture) with 1EV?
The available detail in the raw file means the sensor's sensitivity is good, and the low level of visible noise tells us the sensor's noise floor is relatively small. For example, I only used the "standard" noise reduction option in Workspace, the Prime setting for PL 5, and only a little noise reduction for PS.
This is the best-ever photography and lens combo from Olympus. Each Olympus enthusiast should own at least one like this!!!
The question is, why did I select casual exposure settings with no ETTR? We do not always need 102% image quality. This is important to those "creative" photographers who prefer specific results from selecting different or "creative" exposure settings (Working with different tonal levels).
The E-P7 is an excellent street photography camera for those working with color, monochrome, and creative techniques. What are the top 5 reasons why this is the best-ever Olympus combo? How was it possible for a forum reject* like the 17mm f2.8 to reach this status? What do you think?
The original images I used for this article (I needed something for WS).
Conclusion
The images below remind us of the EM1 III's excellent image quality with something like the 17mm f1.2 pro lens. Take a moment and consider the 4 cameras in this article. Each camera offers superior image quality with specific strengths and weaknesses. The decision of which is best for you and your needs is no longer a process of evaluating image quality. The Fuji X-H2 and X-H2S are excellent examples. They use unique image sensors to offer specific strengths and benefits...
The process of converting raw files and separately editing the converted 16-bit Tiff files is the same for "normal" images. I convert my raw files in Workspace and edit them with PS or ON-1. I also started to select the jpeg option more often for my EM1 III, the E-P7, and the Fuji X-T5. I edit those jpegs in one session with ON-1. See this link.
This short article summarizes the main conclusions of my journey on image sensors. I don't wish this on anyone. Study my articles to see the effort it takes to break away from the programming effects of the "size and capture" marketing program. Why is this important? You will only master your camera if you step away from anyone promoting the size and capture theory.
Take care and God's Bless
Siegfried
* Undisclosed or paid forum promoters habitat in the negative and are not paid to be positive. - link
Walking the Dog Instagram Pictures
Fuji X-T4 with 35mm f1.4 lens - ISO3200, f3.6, 1/18, -1EV Exp comp (Provia film simulation & handheld) - Raw file converted in PL-6.
Instagram Images
This version of the image was prepped in Photoshop.
Olympus EM1 III with 17mm f1.2 lens - ISO1000, f1.2, 1/30 handheld - The amazing benefits of M43.
Olympus EM1 III with 17mm f1.2 lens - ISO1250, f1.2, 1/13 handheld - Amazing detail and M43 benefits.
Fuji X-T5 with the 23mm f1.4 lens - ISO3200, f3.6, 1/7th, -1EV comp - Jpeg OOC and handheld.
I was interested in the Olympus12-200mm f3.5-6.3 lens from the day it was launched. My wife uses the Olympus 14-150mm f3.5-5.6 II which is almost permanently on her Olympus EM10 III. I tried it and while it's a good lens, I was more interested in the small size and extra 50mm reach of the 12-200mm. What also kept me interested was when I saw the excellent images of this photographer.
The reason I prefer Standard and Premium Zuiko lenses from Olympus is their size versus IQ balance. Even though both these zoom lenses have good resale values, the general interest in the 12-200mm seems higher. I guess others like me noticed that the improved construction and specification of this lens are better than anything else in the 24-400mm zoom range. I couldn't wait to try this lens...
Here are some of my thoughts after spending a few days with this lens:-
This lens has the potential to change my photography in terms of reach and framing
It's a slow lens and needs a tripod for early morning, blue hour, and night photography
The EM1 III and the 12-200mm is a small combo, it's not too big, too heavy, or obvious
I tried ProCapture with our little dog and the AF system (AFC) was fast and accurate
The lens is very sharp throughout its zoom range and its color, and definition are good
This lens will definitely benefit from a fully saturated sensor, I need to work on that
I like the close focusing distance as it's good for close-ups or distant framing options
I like the unique 3D or life-like one can achieve with this lens. This is interesting
See this article about the Olympus Zuiko 12-200mm f3.5-6.3 lens and wildlife photography.
I also thought the positive feedback from the German photography press was encouraging. You will find the original Olympus press release here.
You will see I have a wooden bottom plate for my EM1 III. This is the best option from my MKII and like so many other options, it's fully compatible with the MKIII. It's lightweight and extends the grip area just enough to make the camera and the 12-200mm lens a more comfortable combo.
I added a few images from my Pen F with the 12-200mm lens. I use the standard Pen-F bottom plate to support the lens. It's not as comfortable as my EM1 III setup, but the Pen F more than makes up for that with its color and image quality. You have to test this for yourself. From what I can see, the Pen F with the 12-200mm lens is one of those rare creative photography combinations.
Another great combination is Workspace, the 12-200m lens, and the Enhanced Raw Format. The jpegs from the 12-200mm are sharp, the colors are strong, and the subject separation is good. I found this lens is consistently sharp across the frame at different focal lengths and situations. I trust you are familiar with the one-dimensional image look of older lenses? I used to see that from Canon E-FS lenses. The images of the 12-200mm are true to life with a strong 3-dimensional look or character.
The Enhanced Raw Format also helped me to find better camera settings for my 12-200mm. For example, it helped to experiment with other Picture Modes and that's how I learned the iEnhance Picture Mode is a good match for the Zuiko 12-200mm. I prefer the iEnhance "Low" option for most of my lenses and the Standard option for lenses like the 12-200mm. The iEnhance "Standard" option helped me to soften the backgrounds and it also helped me with smoother backgrounds and bokeh circles where possible. Let's allow Canon to explain bokeh...
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/160, -0.3EV, FL 200mm - Raw edited with WS - 3D look & great background.
I thought the 12-200mm lens was not a good low-light lens. It's a lens for daylight photography and I was more interested in any size benefit and the reach of the 12-200mm lens. In fact, I tried ISO200 with a fixed aperture of f7.1 for one full day and never had any issues with slower shutter speeds.
This gave me the freedom to experiment with different focusing options and framing angles. This lens could easily be the inspiration photographers are looking for. A good example is our little dog because I no longer need to go low down, all I do is take a few steps back and zoom in.
I think the above image is interesting. The Panasonic LX1000 is a general-purpose camera. The challenge with the LX1000 is size and weight. I think the EM5 III with the 12-200mm lens is a more flexible option than most fixed lens cameras like the Panasonic LX1000.
The 12-200mm lens has the same 400mm FL as an LX1000. We also have the option to use smaller and faster lenses with a camera/lens combination. If you study APC or full-frame cameras with the same FL range, then you will see there's no equivalent for the high specification of the 12-200mm lens.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/400, FL 100mm - Raw edited with Workspace.
It looks like Olympus did their homework when they planned and designed this 12-200mm Zuiko lens. The design is solid and the glass elements are some of the best. Add to that weather sealing, close focusing distances, and the more advanced autofocus mechanism and you are looking at a serious lens. Goto link1 and link2, to download two older brochures from Olympus. See how real life is different from what we see on photography forums. See what camera settings (apertures) Olympus visionaries use when they photograph with M43 MZuiko lenses...
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/500, FL 80mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/125, FL 200mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/400, FL 200mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO1600, f6.3, 1/60, FL 200mm - Raw edited with PhotoLab 5.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/800, FL 200mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/200, FL 90mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/400, -0.3EV, FL 200mm - Raw edited with Workspace.
As you can see the 12-200mm lens has no problem with pointing it into the sun. I always have a lens hood on my lenses. I experimented with a few images like the above example and the extra reach of the 12-200mm made it possible to try new and different-looking images with the available light. I always find this kind of photography frustrating with lenses with shorter focal lengths.
Olympus 12-200mm lens - ISO200, f7.1, 1/320, FL 56mm - Raw edited in PhotoLab 5 and Photoshop.
I think the viewfinders of Olympus cameras are good. I tried the Panasonic G9 and thought the view was just too big for my comfort. It felt like I had to step into the viewfinder to see it all. A comparison between the EM1 III and Fuji XT4 was also interesting. The X-T4 is better on paper but with normal use, I thought both the EM1 III and the X-T4 viewfinders are adequate and their visibility good.
The reason I think one needs a more capable viewfinder for the 12-200mm, was when I pointed the lens into the sun or with longer focal lengths. I think almost any EVF is good as long as you regularly use the camera. It's mostly a process of setting up the EVF and getting used to it.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/160, FL 200mm - Raw edited with PhotoLab 5.
Olympus 12-200mm f3.5-6.3 Lens - ISO250, f6.3, 1/250, -0.3EV, FL 149mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/100, FL 178mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO1250, f6.3, 1/1600, FL 200mm - Raw edited with PhotoLab 5.
Olympus 12-200mm f3.5-6.3 Lens - ISO1250, f7.1, 1/40, FL 149mm - Raw edited with PhotoLab 5.
Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/125, -0.3EV, FL 200mm - Raw edited with Workspace.
Olympus 12-200mm f3.5-6.3 Lens - ISO1250, f7.1, 1/50, -0.3EV, FL 87mm - Raw edited in PhotoLab 5.
The above image will benefit a saturated image sensor. As you can see I did the opposite by decreasing the exposure by -0.3EV. In fact, the EM1 MKII auto-exposure algorithm uses a bigger safety margin than the MKIII. It's safe to set a permanent "Exposure Shift" of +0.5EV for the MKII. This improves the tonal data and shadow details of the MKII. It does take a little more effort to check the histogram while photographing or correcting your 18% grey values in Workspace.
For more on the ISO versus SNR ratio or Saturating the image sensor go to this link.
Olympus 12-200mm f3.5-6.3 Lens, ISO1250, f7.1, 1/1250, -0.3EV, FL 149mm - Jpeg out the camera.
Olympus 12-200mm lens - ISO200, f7.1, 1/400, FL 200mm - Raw edited with Workspace.
Olympus 12-200mm lens - ISO200, f7.1, 1/500, FL 12mm - Raw file edited with PhotoLab 5.
Olympus 12-200mm lens - ISO1250, f7.1, 1/125, FL 12mm - Raw edited with PhotoLab 5.
Olympus 12-200mm lens - ISO200, f6.3, 1/400, FL 200mm - Edited in PhotoLab 5 and replaced the sky with Luminar 4.
Did you know your ISO does not add more light (image data) to the sensor?
I was listening to an astrophotographer talking about his camera settings. Most astrophotographers are comfortable with the technical aspects of digital cameras. He demonstrated how he shifts the histogram to the right (ETTR) to improve his image quality and record more tonal data.
Many photographers use the ISO and Exposure Comp to apply ETTR. Those who follow this blog know the ISO amplifies the image signal from the sensor. If you like to control the light reaching the sensor, fix the ISO and use the aperture and/or shutter speed. Increasing the reflected light on the sensor means a higher SNR and a more Saturated sensor. The histogram shows the reflected light on the sensor with a fixed ISO. Consider this as "managing" the sensor's ISO to SNR ratio.
Study the illustration below and visualize the reflected light on the sensor at the different ISOs. What do we learn from this illustration? Experienced M43 photographers think of reflected light (luminance) on the sensor. The sensor might receive no reflected light at ISO12800. We always need a light source to illuminate the subject and reflected light to expose the sensor. No reflected light means no recordable image information. The next time photographers quote ISO12800 or ISO20000, ask how much luminance (reflected light) was available at the image sensor?
This illustration shows what the actual scene looks like at each ISO amplification.
The key is to study the technical basics of image sensors. For example, all image sensors have a noise floor, and we control the final visibility of this noise floor. It helps to know the different types of image sensors and the importance of pixel area. Pixels capture Photons and NOT the size of the backplate housing them. The size of the sensor only determines the Lens Image Circle that drives the OPTICAL differences between digital cameras. It's important to know that Pixel Area is one of many Quantum Efficiency variables that determine Sensor Sensitivity.
Saturating the sensor with light means a higher SNR and less image noise. A higher SNR also means we record more tonal data. Digital photographers should know these basics and how to manage them with digital cameras. For example, the technical design aspects of the image sensor are always the same. What are the main Optical and Technical differences between image sensors?
Why does the ISO shift the histogram?Because it's a variable in the exposure equation.
It should be clear why we risk having noise at ISO6400. The above "Photons to Electrons" graph shows what happens with less light on the sensor. Too little reflected light means the sensor's SNR is lower. How do we manage noise at higher ISOs? We typically increase the ISO when we need higher shutter speeds. The key is light. It's safe to use higher ISOs with enough available light. Photographing a Formula One event in daylight is a good example. It's safe to change the ISO and shutter speed with enough light.Also, keep the sun behind you and always have a flash in your camera bag.
What happens at higher ISOs and shutter speeds? We reduce the light on the sensor and increase the image signal amplification (ISO) to maintain the camera's exposure level.
TIP:-The histogram follows the light on the sensor at a fixed ISO. It's incorrect to say the histogram shows jpeg data in Live View. Consider this typical fact statement from undisclosed promoters. When do we have a jpeg file? There's no JPEG file in Live View before you record the image...
Study this basic example of how to apply this knowledge:-
Consider Bird in Flight (BIF) photography. We can safely increase our exposure with 2 stops (ETTR) when photographing birds against a blue sky. If your final adjustment is between ISO800 and ISO1250, which will you take? ISO800 is the better option because it allows more light on the sensor. More light increases the SNR and sensor Saturation. The info in this article enables photographers. Compare that to those advising M43 photographers to "never go above ISO800"...
For more information on ISO and exposure, see this article - link.
See the 7 Points each photographer should know about digital cameras - link.
Have you asked why forum promoters use Photons to Photos graphs when they roam photography forums? Why do they never talk about the basics in this article? Pointless presentations based on calculations do NOT improve image quality. Always ask this simple question. Does the presented information enable photographers or only those manufacturers selling full-frame cameras?
For example, technical aspects like Sensor Type and Effective Pixel Area could be important when selecting the right camera for low-light conditions. Micro Four Thirds cameras use Live MOS sensors, and most APC cameras use Standard CMOS sensors. The Live MOS sensor has up to 75% less control wiring at each pixel. This means M43 cameras typically have a smaller noise floor. Live MOS sensors also have a larger Effective Pixel Area. This explains the Live MOS sensor's relatively good noise and low-light capabilities. Another interesting technical variable is Sensor Readout Speed.
The size of the sensor drives the optical differences between cameras. The technical aspects of the camera are the same for ALL sensor sizes. Why would some say, "Ignore the technical aspects discussed in this article?" Are they simply dumbed-down fanboys or undisclosed promoters?
Does your photography session end at the PC Workstation or Photo Shoot? This article discusses the PC Workstation option and the practical aspects of having the Enhanced Raw Format and Workspace. For example, most M43 photographers don't see any difference between Workspace and other commercially available Raw Editors (Converters) like Lightroom or PhotoLab.
I also discussed the Enhanced Raw Format in a previous article.
For example, Olympus and OMDS use the same "Advanced Raw Processing" terminology in their press releases. For more info about these Workspace descriptions, see the page here. I also keep a basic timeline of all the Workspace updates and my comments in this link.
The best way to benefit from Workspace is to include it in your photography workflow. You will discover it's not just another raw converter the more you work with Workspace. Workspace becomes an extension of your photography experience with Olympus cameras when you convert your Enhanced Raw Files in Workspace and edit the 16-bit Tiff files in Photoshop.
Why 16-bit Tiff files? See the 1st chapter discussing Dynamic Range in this e-book.
We will discuss the following:-
Introduction
Why are Workspace and the Enhance Raw Format different?
Who benefits most from using the Enhanced Raw Format?
My preferred Olympus camera settings for Workspace
How does one edit Enhanced Raw Files with Workspace?
Finally, I added a short video at the end of this article
Conclusion
Olympus EM10 II with 12-50mm EZ Lens - Enhanced Raw File converted in Workspace and edited with Photoshop.
2. Why are Workspace and the Enhanced Raw Format different?
Workspace and the Enhanced Raw Format are unique because they use the same Image Processing as the camera. This is why it's possible to end your photography sessions in Workspace. We can review camera settings like sharpness, contrast, or saturation with WS. It is also interesting to simulate the camera Live View display via WS and the Enhanced Raw Format on a PC display.
What is a typical workflow for Workspace? There is no difference between finalizing your image in the Olympus camera or Workspace. We would typically open an Enhanced Raw File, activate the camera settings, and adjust the camera settings in Workspace.
The most exciting part is the ability to review our camera settings in Workspace. Another exciting aspect is PC RAW mode. It links Workspace to the camera's Image Processor. In fact, Workspace V2 offers an added benefit because it enables the OM-1 photographer to use the standard Workspace Editing panel in PC RAW mode. This is, unfortunately, only applicable to the OM-1.
The Enhanced Raw Format is the main difference between Workspace and commercially available Raw editors like Lightroom and PhotoLab. The same editing panel is used on raw and jpeg files in WS. The only change is the differences between Enhanced Raw and Jpeg files. Olympus photographers benefit most from using both the raw + jpeg options. (see my video further down)
Like anything else, Workspace improves over time and experience. I reached the point of consistently getting better results with my Enhanced Raw Files and Workspace. This also applies to the 16-bit Tiff files I use in Photoshop. Workspace is much better at converting Olympus raw files, and Photoshop is excellent with the converted 16-bit Tiff files...
Below is an example of the differences between raw and jpeg files. The Enhanced Raw Format has more editing options, and it's possible to simulate Live View in Workspace. This ability to have the equivalent of a Live View display with Workspace does not apply to jpeg files.
The same Workspace Editing Panel is used on jpegs and raw files, but the unique link between the Enhanced Raw Format and the Olympus Image Processor does NOT apply to jpegs. This is why it is possible to use Workspace ART filters and Color Profiles on the jpegs from another brand. In other words, Workspace is just another image editor for jpegs.
3. Who benefits most from using the Enhanced Raw Format?
Reflected light and the ability to work with light are basic skills all photographers should have. Light or illumination is the key to managing your exposure and image sensor performance. Light is crucial for award-winning pictures and determines if the image is flat or multi-dimensional.
Anyone who says we don't need a tripod or flash should return to basics. Even if we don't need the best image quality, light is the one thing that makes a difference. The basics of mastering Light, Workspace, and the Camera are reasons photographers are better today...
E-P7 with 25mm f1.8 lens - The 2 Enhanced Raw Files were edited in WS - The difference is Auto Graduation.
Thorsten von Overgaard is an exciting example of an inspiring photographer. Even though I do not own a Leica, my Pen F makes me think... I appreciate the creative freedom with my Pen F, the Enhanced Raw Format, Workspace, and Light when editing 16-bit Tiff files in Photoshop.
4. My preferred camera settings for Workspace
Some photographers adjust the saturation, sharpness, and contrast with the camera to correct the camera's "color science." It reminds me of Sony's A7 cameras. Olympus cameras have more advanced color functions, and most of these camera settings are available in Workspace. It's now possible to tweak your camera settings in the comfort of your home with a large PC screen and Workspace.
Years back, when I started editing, we learned that adjusting sharpness, contrast, and saturation is not the best way of editing images. A better way of editing is to use a histogram (Curves). I accepted that and focussed on Curves with Photoshop. Olympus has two plus a "half" curve equivalent in the camera and Workspace, the "highlights/shadows" sliders, Graduation, and Tone Curves.
Olympus EM10 III with 14-42mm kit lens - Enhanced Raw File converted in WS and edited in PS.
A better way of sharpening images is the Unsharp Mask function. You can safely start with an Amount of 44 and a Radius of 1.3 while developing your sharpening skills. Image sharpening is a simple process of adding contrast to the contrast areas in the image. You could also use a basic S-Curve in Tone Curves or the highlight and shadow sliders in your camera or Workspace...
One of the most critical decisions is having the same color space for the camera and Workspace. I simply use Adobe RGB for all my software and devices. That means the camera Live View display is the same as my Workspace Live View Display. I only convert my images during my final adjustments to SRGB for posting them on the web or CYM for printing.
Olympus EM5 with 12-50mm, ISO800, f4.0, 1/6Sec (Handheld) - fully edited in Workspace.
Why do I focus on photography and not my camera settings? The reason is simple, you need to know what is possible in Workspace and what is possible when photographing. For example, you cannot re-adjust your exposure settings (aperture and shutter speed) in Workspace, but you can select a different Picture Mode in Workspace. This knowledge helps us to plan our critical camera settings while photographing versus what we can tweak with Workspace.
For example, while out photographing, focus on your exposure settings. You can always do any final exposure compensation settings in WS. Focus on your inspiration, exposure strategy, direction and quality of light, and having the best viewing or picture angle when you photograph.
It's good to keep a grey card or Spider Cube with you. Place them in the scene and do a few test shots with different angles. Manual Exposure Mode is the best way to master your exposure settings. For example, work with the direction of light and various light sources. The challenge with Manual Exposure Mode is the Exif data does not show any "exposure compensation" settings. If this is a problem, use Aperture Priority with exposure compensation.
Olympus EM1 III with 12-200mm Lens - The Enhanced Raw File was converted with WS.
Why is it important to know if you used exposure compensation? One would correct the exposure compensation settings in Workspace to ensure the correct 18% gray or color values.
Here are my recommended camera settings for Aperture or Shutter Priority Modes:-
Always apply the ISO manually (Manual or Aperture or Shutter priority)
Do not adjust the sharpness, contrast, or saturation sliders in the camera
Always use the jpeg + raw option in your camera (Enhanced Raw files)
Use Exposure Compensation to manage the exposure mix of the camera
Always use a fixed ISO when your goal is a fully saturated image sensor
The focus of using these settings is maximum tonal/image data, not creativity
If your focus is a final in-camera jpeg, then these suggestions will change
If your goal is a final image in Workspace, then use the Enhance Raw Format
We can "simulate" the jpeg in WS and select our best camera settings in WS
Olympus EM5 with 12-50mm lens - ISO800, f4.0, 1/3 sec (handheld on a rail) - Raw File edited in Workspace
A welcome aspect of Workspace and the Enhanced Raw format is how we determine the best camera settings for our unique photography styles. This is especially applicable to jpegs. Workspace offers the best environment with large PC screens to help us fine-tune our camera settings.
5. How to edit your images in Workspace
We are not discussing Workspace features like hotkeys, button functions, or how to re-arrange the editing windows. It's good to take a few minutes and familiarize yourself with WS. You will find the User Manual in the Help Menu. We will focus on standard and enhanced editing functions.
EM10 III with 12-45mm f4 Pro lens - A good camera for Workspace (Color Creator) and Photoshop.
Workspace V2 is slower on my older Macs. I saw this on my older MacBook Pro and iMac from 2014/15. My Macbook is the basic version, and my iMac is well-specified for 2014. The iMac performs well but is slower with V2. Go to my WS tips page for more...
See the diagram below. It summarises what we discussed in this article. Any computational or AI functions should be part of a separate discussion. The same applies to downloading or importing images to WS or managing and rating your image collection.
Figure 1
The best decision you can make is to study Olympus Software Applications like Workspace and OI. Share. Trust the Olympus Developing and Engineering Teams and the fact that they compete with the best in the industry. Ignore forums, camera reviews, and YouTube with all the undisclosed promotions on these platforms. Trust your own talent and experience with Olympus. For example, photography forums will never admit that the 14-42mm kit lens is an above-average performer. The same is true for the 9-18mm, the 14-150mm, the 12-200mm, and ALL the f1.8 compact lenses.
Olympus 14-42mm f3.5 - 5.6 R II Kit Lens
Workspace is a fully-featured image editor with all the advanced features of Olympus cameras. While not as powerful as Photoshop, the editing features of Workspace are the same as the camera and a good editing solution for Olympus photographers. Workspace is one of the best image editors for those new to editing. The main reason is the similarities between Workspace and the camera.
It's good to start editing with Workspace because it offers similar editing features as the more advanced editors like Photoshop. It's possible to export your Workspace images to Photoshop for more advanced image editing. This makes any editing transition simpler from Workspace to Photoshop.
Figure 2
How to activate Live View in Workspace? None of the camera settings are "live" when you open your Enhanced Raw File in Workspace. All the camera settings are available but have to be activated. Live View is only active when all the camera settings are selected in Workspace. The above illustration shows the process of selecting and activating your camera settings. The camera jpeg or Live View image is displayed when all the camera settings are active.
Olympus E-P7 with 9-18mm f4 lens - Great lens for creative effects - Edited with WS and PS.
Any editing steps discussed in this article reflect my own editing style. I have been using WS from the first day it was launched, and I like to start by activating my raw file or camera settings. See the above graphic. This allows me to sit back and inspect the image in Live View mode. It is good to take a few minutes and study the image before making any adjustments.
These are the steps I follow when I am editing an Enhanced RAW File:-
I first activate (select) all my camera settings in Workspace
I use a +2/6EV exposure shift with all my Olympus cameras
Correct the exposure shift with a -1/3EV exposure compensation
This will reset the image colors or neutral grey values to 18%
I mostly use the "Low" option for the iEnhance Picture Mode
The Highlight/Shadow sliders open shadows and pull back highlights
Use the mid-tones slider to adjust the brightness of the image
Use the Tone Curve slider for older cameras with no mid-tone slider
You could use an S-Curve in the Tone Curve section to add contrast
Use the Dehaze and Clarity slider to better define the sky or clouds
I do not sharpen my images in Workspace - I prefer Photoshop...
I use the RGB color space, and it's critical to activate it in WS
I prefer the "Low" option for the Noise Filter in the camera or WS
I never use the False Color Suppression in the WS Noise Filter
I very seldom use any of the other noise filters in my camera or WS
When I am done, I transfer the 16-bit Tiff file to Photoshop...
Olympus E-P7 with 9-18mm f4 lens - The Enhanced Raw File was converted with Workspace.
I typically use a mix of highlights & shadows settings or gradation to determine the final brightness of my images in Workspace. The next step is white balance. There are more ways of selecting your White Balance. One is to leave the WB in Auto or to use the daylight, clouds, or other WB presents. Another option is to select a reference point in the image with the custom WB or Grey Pointer. It can be a gray card in the image or any white surface.
Don't confuse yourself with image brightness and the correct neutral (18%) grey value. Follow the steps below to optimize your image quality and color:-
Determine your neutral grey exposure settings with the camera exposure meter.
The final exposure settings will include ETTR, WB, and exposure-compensation
The 1st WS step is to set back the exposure compensation for the correct exposure.
The next step is to select the appropriate White Balance for the image and WS.
The final image (exposure) is now ready for the raw conversion steps in WS
For example, any creative brightness tweaks happen from this point onward
It's OK to have a personal style when selecting the white balance for the image. I prefer white areas in shadow areas or the cement between bricks. Your WB point choice represents your preferred image style and look. There are no rules for setting your WB.
Figure 3.
How should I edit my images in Workspace? Image editing is a series of minor adjustments until the image mirrors the photographer's impression of the original scene. There are no rights or wrongs when editing an image. There are probably 3 types of image editing styles for WS:-
Casual image editing (nothing big and small steps at a time)
Creative image editing (various options like ART filters & PS)
Customer contracts (this requires advanced editing in WS & PS)
This article focuses on casual and creative image editing. See my fully customized editing panel in Figure 2. The different editing panels below are from this customized editing panel. I marked each editing step in the illustration below (figure 4). The opening and exporting of your images happen in A and E. Steps B, C, and D are discussed in more detail in the video below.
Olympus E-P7 with 9-18mm f4 lens - The Enhanced Raw File was converted with Workspace.
The main editing sequence in Figure 4 consists of a step-by-step editing sequence. Steps B and D are used in casual editing, and B, C, and D for creative editing. None of the camera settings are active when you open the Enhanced Raw File. What's displayed on the PC screen is pure raw data. You first need to activate Live View in Workspace. See Figure 3 for more info. I grouped all the Standard Camera settings in Step B to simplify them.
The same applies to any Creative functions. You will activate your creative settings in Step C to see them in Live View. Workspace shows you which options were used in the camera. The only tricky one is the Color Creator. The Color Creator is the final option in the Picture Mode drop-down menu in Step 3. The best way to check if you used the Color Creator is to study your Jpeg Exif data.
Figure 4.
Image editing starts when you analyze the Live View image in Workspace. You will have a good feel for your final image and what you like to change or update. It's important because it's part of your editing/creative process when preparing your final images.
I typically prepare notes on what I like to achieve with the Live View image in Workspace. Image editing is a simple step-by-step sequence starting at Step A and finishing with Step E.
Workspace is one of the best image editors for those new to image editing. In fact, Workspace quickly becomes powerful the more you use it. For example, I am talking about taking the time or the fact that image editing is a process. What about those cases where speed is critical? Well, that is also possible in Workspace. You would typically take the time to edit the first image and then copy and paste the settings to the remaining images in the sequence.
6. A short video on Workspace and the Enhanced Raw Format
The above video explains the different sections discussed in this article. I also show a few basic editing steps. It is good to know that image editing in Workspace is as simple as adding an S-Curve, selecting a new picture mode, or changing the Noise Reduction from Standard to Low. Image editing in Workspace does not have to be a big thing.
7. Conclusion
I did something I wouldn't normally do when I updated Workspace to version 2. I typically wait a while to safeguard myself and my PC. My concern is speed. The upgrade to Workspace V2 was obviously done to support the new OM-1 and newer PCs.
The previous version of Workspace (V1.5) is a safe option if you don't use the M1 Macbook, or use the EM1 III, or any other Olympus camera. Its fast and older PCs generally support Workspace V1.5 without any issues.
Olympus EM10 III with 14-42mm kit lens - Enhanced Raw File converted in WS and edited in PS
The cost-effective and tested PC is the entry-level Macbook Pro with the M1 processor (I added the 16GB option to mine). If you need the new sequential shooting group display, focus sorting feature, or the AI noise reduction feature of V2, then you need something like the new M1 CPU.
Long-term Olympus users are familiar with Olympus Viewer 3. Workspace is the improved version of Viewer 3. It offers a better interface for the Enhanced Raw format. I kept a copy of Viewer 3 on my iMac and continue to use it. For example, it's a pity that Olympus removed the Gamma function from Workspace. A nice benefit of Viewer 3 is how it displays the camera settings (Enhanced Raw data) in the editing panel.
See the camera settings in the Enhanced Raw File.
What is the Gamma function? Image sensors are linear recording devices. Editing software like Workspace or Photoshop overlays a standard display profile to the raw data. The Gamma slider allows us to adapt or fine-tune this display profile.
Pen F + 60mm Marco - High Resolution 80MP (10368x7776) - Edited in OV3 /Changed the Gamma profile)
