This is how I convert my Enhanced Raw Files?

Last updated:- 22nd January 2023

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. 

See this article for more on IQ and 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.

The new OM-5 signals the end of an era...

 Last Update: 20th November 2022

While watching the OM-5 launch videos, my first reaction was too little information or storytelling. My experience and perception of the launch changed when I realized the OM-5 is only a scaled-down version of the EM1 III. Clearly, the E-P7 and the OM-1 were the last R&D projects for Olympus, and the illustration below is an example of OM-SYSTEM "designing" the new OM-5. I couldn't help to picture the EM10 IV (OM-10) in this illustration.

MyOlympusOMD is a small photography blog with less than 200K views. My articles are a window into the information photographers want most. For example, more people read my color and Pen F series than any other subject. Another trend is the high interest in the E-P7 with its 4K video. Photographers like good image quality from the right technology and camera features.

See this link for more about the OM-SYSTEM strategy and THE OM-SYSTEM WAY...

Is the new OM-5 a good camera?

The answer is YES because we know the 2 cameras OM-System used to "design" the OM-5. If you like to learn more about the OM-5, study the EM5 III and the EM1 III. 

It's always good to also consider these 4 points:

1. The image sensor (study the type and specification of the sensor, not size)
2. The camera/lens combination (standard lenses, premium lenses, pro lenses)
3. The Image Processor (version and anything special about the Processor...)
4. Camera Firmware and Editing Software (critical aspects for any solution)

The OM-5 has the same Truepic IX processor as the EM1 III. The difference is a scaled-down version of the EM1 III firmware in the OM-5. Study this article for more on the 20MP sensors from Olympus.

Handheld High-Res image with the EM1 III and the 12-40mm f2.8 lens - ISO200, f6.3, 1/400 - Enhanced Raw File converted in WS.

Let's review a few questions from the YouTube launch videos.

1. Will we have better image quality with the OM-5?

The answer is NO. The OM-5 is based on the already good IQ from the EM5 III and EM1 III. The OM-5 might be the first camera with a unique OM-System color "science" or image look...

2. Will we have less noise from the OM-5?

There is no quick answer to this question. The OM-5, EM5 III, EM1 II, EM1 III, and EM1X all use the same image sensor. Improvements like the Truepic IX Processor increased the image processing power of the OM-5. Manufacturers use this processing power to replace some of the camera's hardwired features with new software solutions. This is how Olympus improved the EM1 II (V3) noise with a 1/3 stop. The EM1 III sensor also received an anti-reflective coating. 

Is it safe to say the OM-5 received all these improvements? This is important because we cannot say the same sensor is the reason they have the same image quality. One needs to review all the variables discussed in my articles between two cameras.

For example, DxO said the EM1 II sensor is the best M43 sensor they tested. Olympus said the Truepic IX processor has the same processing power as the 2 Truepic VIII processors in the EM1X. This enabled them to refine the EM1 III image quality and the high ISO + shadow noise control. Sensor sensitivity and the noise floor stayed similar for the EM1 II & III, EM5 III, EM1X, and OM-5.

We also know the default noise floor of the original EM1 20MP Live MOS sensor was relatively small. Sadly, only some photographers learned how to control image noise. For example, visible noise is a function of the camera's Exposure Mix and how well we Saturate the Image Sensor.

This example shows how little reflected light reached the sensor at ISO6400 - link.

In summary, manufacturers use the 7 steps below to improve IQ, and informed photographers use these steps to evaluate cameras. Only uninformed photographers follow "experts" and rely on the size of the sensor. The OM-5's image quality improvements are summarized in steps 4, 7, and maybe step 2. Did the EM5 III receive any additional anti-reflection sensor coatings..?

Study this article for more on the Exposure Mix and this article for more on SNR...

3. Is the OM-5 a good camera?

As discussed, the OM-5 is based on the older EM-5 III platform and the "new" EM1 III Truepic IX image processor. They are from the same factory as the EM5 III and probably the same manufacturing line. This is why it's safe to assume the OM-5 is a good "Olympus" camera.

4. Should we buy the OM-5?

The OM-5 will be a safe and inexpensive purchase. You should also consider the EM5 III, the EM1 II, or the EM1 III. The EM1 III is the most exciting Olympus camera I owned in years. It has all the upgrades one could wish for, from a 2016 camera. Olympus also "fine-tuned" the EM1 III image quality to a level I have never seen from any Olympus camera.

Olympus EM1 III with 12-200mm lens - ISO640, f6.3, 1/80 - Enhanced Raw converted in WS

Conclusion

OM-System took a few unique risks with the OM-5. Peter Forsgard mentioned a new OM-5 customer. Watching the launch videos, I recall thinking OM-System was targeting vloggers with the OM-5. It's easy to picture corporate marketers presenting smiling vloggers leaving their mobile phones behind to tell their stories with the new OM-5 in a vertical red box...

Timing is also a risk with the current low consumer confidence, supply chain problems, health crises, and events questioning global leadership. Is the Olympus brand robust enough to survive another crisis? What would happen if existing customers think they were neglected by OM-System?

My EM1 III and iMovie on my iMac. See my Instagram

Relaunching a 2016 platform is a considerable risk. This is why I decided to introduce Fuji as an alternative to Olympus. Fuji is the closest brand to match Olympus's color and IQ philosophy, and Fuji shares many of the unique benefits we appreciate with Olympus and the M43 format. Please watch this excellent video from the RED35 YouTube channel about Micro Four Thirds.

See this link for more about the OM-5 and the "corporate" slide below...

An interesting "corporate" slide with the new corporate triangle and "making the OM-5 look advanced" strategy. - Source

One final thought. The competition moved on while OM-System repurposed and printed its logo on the EM-5 III. The result is a fascinating selection of technologies and innovations from the Sony A7R5, Sony FX30, Fuji X-H2S, Fuji X-H2, Fuji X-T5, Canon R6 II, and the Leica M6.

It's also possible to determine if manufacturers value customer feedback. Counter-marketers like to partner with camera reviewers and large photography forums. It's easy to list the priorities they are pushing on social media. Examples are camera menus, fully articulated displays, pro video features, and headphone outputs on "photography" cameras.

I respect Fuji for launching the new X-T5 as a photography camera. A clear separation between photo, hybrid, and video is long overdue. Olympus was good at having just enough video features while focusing on photography. A clear separation between photography and video will prevent camera reviewers from scoring headphone outputs on photography cameras or "grassroots" (staged) forum discussions pushing for fully articulated displays on all cameras. This excludes the absolute confusion on autofocus and what photographers and videographers prefer...

It looks like OM-System will keep the focus on photography with just enough video.

For more about marketing and social media, see this link.

Fuji X-T4 with XF18mm F3 R lens - ISO320, f5.6, 1/25 - The jpeg was prepared in Photoshop.

The Pen F is an example of two marketing realities. One is a popular creative camera with a large following, and the other is a counter-marketing campaign bashing the Olympus Imaging Business. Counter marketers used undisclosed promoters to target Olympus and spread rumors on photography forums. The Pen F became one of many arguments to discredit Olympus. 

Studying this review, the thought crossed my mind, who does more damage, and which of the above realities influenced the OMDS marketing team most as they created the OM-System product strategy? Taking Fuji.., does OMDS have the right D&A to be a genuine camera manufacturer?

Which one will be more popular in 2023, the OM-5, Fuji S10, or the new X-T5?

See this interesting report on the new X-T5.

Take care & God's Bless

Siegfried

This is an exciting camera for photographers, and the X-T5 description explains the SNR stayed the same. What does that tell us?

Olympus 12-200mm f3.5-6.3 MZuiko Lens

 Last Updated:- 29th May 2022

I was interested in the 12-200mm f3.5-6.3 lens from the day it was first introduced. My wife has the 14-150mm f3.5-5.6 II which is almost permanently on her EM10 III. I tried the 14-150mm and while it's a fine lens, it's that extra reach and specification of the 12-200mm that kept me searching for a secondhand copy. What also kept me interested is the excellent images from this photographer.

The reason I prefer the more practical Standard and Premium MZuiko lenses is the size versus IQ ratio. Even though the 12-200mm reach a higher resale value, the general interest in this lens is high. I guess others like me saw the construction and specification of this lens are better than anything else in the 24-400mm zoom range. This made it easy to realize this is a serious lens.

Here are some of my thoughts after spending some time with this lens:-

• This lens has the potential to change my photography in terms of reach and framing
• It is a slowish "daylight" lens and it should be tucked away in my camera bag at night
• It's a great match for my Pen F or my  EM1 III, not too big, too heavy, or too 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 is good
• This lens will definitely benefit from a fully saturated sensor, I need to work on this
• I like the close focusing distance as it's good for close-ups or distant framing options
• I like the unique 3D or spatial look you can achieve with this lens. This is interesting

As you see I have much to learn about this lens, and many more images to take before I can say I fully mastered the MZuiko 12-200mm f3.5-6.3 lens. 

I also thought the positive feedback from the German photography press is encouraging. You will find the original Olympus press release here. You know I don't trust supplier info, right?

You will see I have a wooden bottom plate for my EM1 III. This is the best option for 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 using this lens. I used the Olympus 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 excellent color and image quality. You have to test it yourself, but from what I can see, the Pen F with the 12-200mm lens is one of those rare creative photography combinations.

Olympus 12-200mm f3.5-6.3 - ISO200, f7.1, 1/160, FL 200mm.

Another great combination is Workspace, the 12-200m lens, and the Enhanced Raw Format. The jpegs from this lens are sharp, the colors are strong, and the subject separation is excellent. No matter what, I found this lens is consistently sharp across the frame. I trust you are familiar with that one-dimensional image look from some lenses? I used to see that with Canon EFS lenses. The images from this lens are life-like and they have this kind of 3-dimensional look.

The Enhanced Raw Format also helped me to find the best camera settings for the 12-200mm. For example, it helped me to experiment with different Picture Modes and that's how I discovered the iEnhance Picture Mode is a good match for the 12-200mm. I use iEnhance "Low" for some of my lenses and Standard for others like the 12-200mm. The iEnhance "Standard" option helped me clean up the backgrounds and it also helps me create smoother backgrounds with great 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 will not be a low-light lens. This is a lens for daylight photography and I was more interested in the size benefit and the extra reach of this lens. In fact, I tried ISO200 with a fixed aperture of f7.1 for one full day and never had any issues with slow shutter speeds. 

This gave me the freedom to experiment with new focussing options and new 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 also interesting. The Panasonic LX1000 was made for general-purpose photography. The challenge with the LX1000 is its size and weight. I think the EM5 III with the 12-200mm lens is more flexible than any fixed lens camera like the Panasonic LX1000.

The 12-200mm has the same 400mm FL as the LX1000 plus we have the option to select smaller and faster lenses. 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 the 12-200mm. The design is good 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. It wouldn't surprise me to learn this lens is targeted in counter-marketing actions.

What are typical filters or so-called  "fact" statements one could expect to see?

• The lens is soft at this or that focal length
• For sharp results, up the aperture w 2 stops
• The manufacturing quality is not consistent...
• Example of cementing the "M43 diffraction issue"

Innocent forum discussions never give any proof or examples to support their "fact" statements. See the video in the article (link) below for more about these "grassroots" discussions.

If you're new to Counter-Marketing, any terminology, and how it's done, see this article.

Goto link1 and link2, to download two old brochures. See how real life is different from what we see in these "innocent" grassroots talks. See what camera settings (apertures) Olympus visionaries use when they photograph with the excellent and timeless 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 has no problem with pointing it into the sun. I always use my lenses with a lens hood. I experimented with a few images like the one above and the extra reach of the 12-200mm made it possible to try new and different views using only the available light. I always found this kind of photography frustrating with shorter FL lenses.

Olympus 12-200mm lens - ISO200, f7.1, 1/320, FL 56mm - Raw edited in PhotoLab 5 and Photoshop.

I think the viewfinders on Olympus cameras are good. I tried the Panasonic G9 and found the view is just too big for my comfort. It felt like I had to step into the viewfinder to see it all. Comparing the EM1 III and the XT4 viewfinders are also interesting. The X-T4 is far better on paper but in normal use. I thought both the EM1 III and the X-T4 viewfinders are great and their visibility good.

The reason I think one needs a more capable viewfinder for the 12-200mm, is when pointing it into the sun or working 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.

Olympus 12-200mm f3.5-6.3 Lens, ISO1250, f7.1, 1/2500, -0.3EV, FL 200mm - 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.