The exposure mix and Stylus X-series from Olympus

Last update:- 1st August 2026 - several updates plus new photos.

My plan was always something special about the Stylus X-series from Olympus. Considering my most recent article and having used the Stylus X-series more frequently over the past few months, I thought the combination of a smaller "high-sensitivity" sensor with a deeper depth of field (DOF), the TruePic image processor, and Zuiko lenses is perfect to summarize the exposure mix and DOF conversation. While preparing for the article, I studied the Stylus X-series press releases. It's fascinating how much easier it is to study Olympus press releases with the information from this blog. This article takes a new look at the Olympus X-series and why they decided to use "high-sensitivity" sensors, Zuiko lenses, and micro-four-thirds (MFT) TruePic image processors.

Marketers managed to establish a shallow depth of field as a de facto standard. Everything changes as we step outside this standard, turn around, and view the world from a deeper DOF perspective. For example, the Stylus X-series has a 2.25x deeper DOF over MFT and a 4.5x advantage over FF sensors. Package this information with high-sensitivity sensors and Zuiko lenses like the 28-300mm f2.8 and 28-112mm f1.8-2.5, and we are looking at a surprisingly capable range of compact cameras.

PS. The images in this article are best viewed on large displays similar to the iMac 27".

See the article describing my "new" home studio for more on how I create images like these...

The common thread differentiating the Stylus X-series was the introduction of iZuiko lenses and how Olympus targeted DSLR photographers as a Stylus customer segment. It explains the iZuiko lenses with matching TruePic processors and high-sensitivity "pro-level" sensors. The result was a superb range of compact cameras. What a joy to rediscover these nearly 20-year-old cameras in 2026.

The Stylus XZ-1, with its 10MP CCD sensor, and the XZ-2 and 1s, with their 12MP BSI sensors have high sensitivities and a smaller noise floor with fewer megapixels. The XZ-1 has the same TruePic V as PEN cameras, and the Stylus XZ-2 and 1s have the same TruePic VI as the EM-5. The Stylus 1s has the same EVF as the EM-5, and the XZ-1 and XZ-2 have an auxiliary port for optional EVFs.

One of the more practical aspects of these cameras are the Enhanced Raw Format and Workspace. The Stylus X-series raw files have the same functionality as MFT raw files. There is more to discover about these Stylus X-series cameras, TruePic image processors, iZuiko lenses, and the MFT menus and functionality. See the Olympus global news page for the press releases of these cameras.

The TruePic VI image processor introduced several new features and technologies such as shadow and highlight adjustments, fine detail processing, real color technology, and iHS (intellegence, high speed, and and high-sensitivity). I am always surprised by the unique Kodak color signature of my Olympus JPEG files and the converted RAW files of Workspace. Study the above illustration for more about TruePic image processors. Also, see the Stylus XZ-2 press release for more.

These 3 cameras mirror an interesting phase in the evolution of Olympus' image creation process, the enhanced raw format, and the user interface. Today we have access to the exposure controller, the image creation process, tonal (gamma) controls, and basic image editing settings in the camera and Workspace. Basic image editing can be regarded as destructive, whereas tonal adjustments are part of the imaging process and non-destructive. We also see the evolution from the live guide to a basic version of shadow and highlight adjustments to the almost final version of highlights, midtones, and shadows. One can write several articles on the evolutionary process of these cameras.

PS. Did you know that commercial raw converters do not have access to the "embedded" Olympus and Kodak look?

Olympus Stylus XZ-1. The RAW files were converted in Workspace and prepped in Affinity Photo 2.

Commercial priorities disproportionately push photographers to expose for highlights in an attempt to manage the scene's dynamic range. The mainstream view suggests only some suppliers have reliable and capable FF cameras. It's fascinating to see social media influencers hyping about dynamic range and noise without offering any proven remedies for clipping or noise. One of the most reliable options is HDR (high dynamic range) photography. How many photographers had the chance to learn about the unique advantages of HDR photography, or were simply discouraged? Older photography magazines highlighted the digital "discovery" phase leading up to 2012, which was free from narratives relying on physics or "the science." I am working on a dedicated article on HDR photography.

PS. See my next YT video for the reasons I never "exposure for highlights..."

Stylus 1s - I created the black & white version and the HDR image from a raw file in Affinity photo 2.

Interestingly, one of the reasons I continued with HDR photography is the freedom and joy of creating HDR images. It's hugely satisfying and a highly recommended technique. A good understanding of the image sensor, the role of light, and tonal controls is enough to create satisfying results. For example, the Stylus XZ-2 has a unique HDR option, which is different to HDR1 and HDR2.

Taken handheld with the Stylus 1s. The HDR image was done with Affinity and 3 bracket raw files.

A thorough understanding of the sensor and the exposure mix is more valuable than buying new FF cameras to overcome clipping and image noise. For example, familiar sensor limitations are not the only reason for clipping and noise. Variables like the sensor's exposure, ISO amplification, and image editing could all cause clipping or more visible noise. Techniques like HDR, ETTR, the exposure mix, and managing your scene luminance are proven ways of getting better image quality.

The shallow DOF commercial program was so effective that reviewers wouldn't entertain the idea of a 2-stop advantage when OM System introduced it with the Olympus OM-1. A deeper DOF supports lower ISOs with more flexible exposure options in low-light and deeper DOF applications. It also supports the 4.5x deeper DOF and ISO benefits of the Stylus X-series over FF cameras. This does not mean the X-series is better than MFT or FF cameras. They simply have a different and wider range of photography applications. A shallow DOF is associated with portraits, events, and the "cinema" look.

It's an interesting process of rediscovering the Olympus Stylus X-series with this information. The high-sensitivity X-series sensors deliver excellent results with the right exposure mix. The deeper DOF of these Olympus X-series cameras is something everyone should experience for themselves.

Why would Olympus talk about "high-sensitivity" sensors in their press releases? Sensor sensitivity is a function of the sensor's optical and quantum efficiencies. High-sensitivity or pro-level sensors are not an accident, as they are specifically selected for enthusiast or pro-level cameras. High-sensitivity sensors typically offer higher photon-to-electron conversion rates and a lower noise floor.

PS. I often refer to optical and technical (quantum) efficiencies in my articles. Quantum reminds me of "the science or physics."

See this article for more on managing the sensor.

What is the exposure mix? It's a basic process of managing 4 exposure variables: aperture, the ISO, shutter speed, and the avg. scene luminance. The goal is to "manage" the reflected light reaching the sensor. See the photons-to-electrons graph. A saturated sensor simply means more dynamic range and less noise (higher SNRs). The focus is shifting from discussing the problem to managing the solution. Marketers, unfortunately, promote sensor size as the only option for better image quality.

Should I, therefore, change my photography style? A basic understanding of the image sensor and a higher awareness of the exposure mix are enough to benefit our image quality. Low-light and complex lighting situations are typical scenarios for managing the exposure mix more actively. 

PS. The bracketed images in the above HDR examples were all handheld images from the Stylus XZ-2 and 1s.

Olympus Stylus XZ-1. The RAW files were converted in Workspace and prepped in Affinity Photo 2.

The Stylus X-series enables more applications for travel, macro, street, and landscape photographers. For example, the iZuiko 28-300mm and sensor combination is so impressive that one could compare it to the M.Zuiko 40-150mm f/2.8 Pro lens. What makes the iZuiko 28-300mm f2.8 lens so impressive is the physical size of the Stylus 1s. Nobody would expect the capability of this camera in the hands of a street photographer. The Stylus XZ-1 and 2 are as impressive. The reach, lower ISOs, and deeper DOF of these cameras are perfect for most travel, scenery, macro, and street photographers.

The images in this article are a testimony to the joys of photographing with the X-series. You will see from my camera settings that I don't change my exposure mix for each image. The exposure mix is critical but only another step in developing a broader range of photography skills. I generally use aperture priority and set my camera's exposure mix as I leave my home. Most of the images were taken in the late afternoon. See the focusing advice from Guido van de Water in this video.

I used the "low" noise filter for all these images and the AUTO gradation option for some. I normally prefer the camera's WB values in Workspace, but in some cases I selected another option from the Auto WB menu. I will edit some of my posted Berlin photos in my next YouTube video.

Best

Siegfried

Olympus Stylus XZ-1 - ISO100, f3.2, 1/500. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus 1s - ISO100, f4.0, 1/1000. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-1 - ISO200, f4.0, 1/80. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 - ISO200, f4.0, 1/50. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Olympus Stylus 1s - ISO100, f4.4, 1/640. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus 1s - ISO200, f4.5, 1/400. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 - ISO100, f4.0, 1/200. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 - ISO500, f4.0, 1/40. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Olympus Stylus 1s - ISO100, f4.5, 1/100. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus 1s - ISO100, f4.0, 1/400. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 - ISO100, f4.0, 1/200. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 - ISO100, f4.5, 1/640. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Olympus Stylus XZ-2 - ISO200, f4.0, 1/200. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus 1s - ISO400, f4.5, 1/250. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-1 - ISO100, f4.5, 1/400. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus 1s - ISO250, f4.5, 1/250. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Olympus Stylus XZ-2 - ISO100, f4.0, 1/500. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus 1s - ISO100, f4.5, 1/80. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-1 image. I created this HDR image from 3 handheld bracketed exposures in Affinity.

Stylus 1s - ISO100, f4.5, 1/100. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Olympus Stylus XZ-2 - ISO100, f4.0, 1/1600. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 image. I created this HDR image from the raw file in Affinity Photo 2.

Stylus 1s - ISO200, f4.0, 1/4320. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Stylus XZ-2 - ISO100, f4.0, 1/1250. The RAW file was converted in Workspace and prepped in Affinity Photo 2.

Olympus Stylus 1s - ISO800, f3.2, 1/600. The RAW file was converted in Workspace and prepped in Affinity Photo 2.