The 4 things that could improve your Image Quality

Last update:- 22nd January 2024

Introduction

Many social media presenters introduced 2024 with a list of photography essentials. While having good intentions, it's surprising to see how well-known influencers repeat incorrect information.

This inspired me to review the following talking points and introduce a new technique:

1. "Focus" on the subject, and don't let the background or DR distract you.
2. Exposure Triangle - Replace "ISO Sensitivity" with "Image Brightness."
3. Discard all "size and capture" theorists explaining image sensors/cameras.
4. Knowledge and regular practice are +50% of what makes photography fun.

EM1 III w Lumix 35-100mm f2.8 - ISO200 (400), f8, 1/640. ISO400 plus ETTR (+1EV) gave me a +/-2EV brightness variation. See the article.

Imagine you are photographing a blue hour or city scene at night, and it's possible to adjust the image brightness just enough to get more details from street lamps and/or restaurant/shop windows...

How did I take the images below? I used a technique that control the sensor and ISO separately. That means I independently manage my sensor's saturation and the ISO (image brightness).

Figure 1.

1. Focus on your subject, and don't let the background distract you

I am a keen follower of the Danish photographer Thorsten Overgaard. I like his work, enthusiasm for Leica cameras, and passion for photography. Thorsten discusses 4 essentials that could improve your photography in 2024. Many presenters and photographers assume the ISO function on digital cameras is similar to film cameras. Folks, the ISO function does not adjust the sensor's sensitivity.

Watch Thorsten's video for more on his 4 essentials, like focusing on the subject...

2. Remove ISO Sensitivity from the Exposure Triangle

The best way to think of your ISO function is to view it as an in-camera brightness slider. The image sensor and ISO amplifier are separate components. The sensor's sensitivity is measured and adjusted at the factory. This is a once-off and permanent adjustment that prepares the image sensor for use with digital cameras. The ISO function simply amplifies the image signal from the sensor...

Study this article for more details.

Why is the "Digital Exposure Triangle" different? It allows us to improve our tonal (image) data. The ISO "sensitivity" theory limits our ability to manage the sensor's saturation. This and a lower Dynamic Range are why "experts" say ETTR isn't safe at higher ISOs. This article focuses on the benefits of having a saturated sensor and using the ISO as a brightness slider (image signal amplifier).

EM5 II & 7-14mm f2.8 lens - ISO800, f2.8, 1/250. The Advanced Raw File was converted in WS. The new ISO technique will benefit this photo...

The information below applies to all digital cameras:

1. The Shutter and Aperture are responsible for exposing the sensor.
2. The ISO function only amplifies the image signal from the sensor.
3. This doesn't mean the ISO is not part of the camera's exposure calc.

Consider this when you set your camera's exposure with the Digital Exposure Triangle:

• Reflected light (Shutter Speed and Aperture) controls the sensor's saturation level.
• More reflected light saturates the sensor. This improves the SNR, which decreases noise.
• Less reflected light decreases the Saturation/SNR. A smaller SNR increases visible noise.
• Study the Photons to Electrons conversion graph in one of my previous articles - link.

This brief summary explains why ALL digital cameras have visible noise at lower SNR values...

EM1 MKI & 12mm f2 lens - ISO1250, f2.0, 1/25. The Enhanced Raw File was converted in WS. These scenes benefit from the ISO technique.

3. Avoid any "size and capture" theorists explaining digital cameras

The left photo in Figure 1 is the JPEG from the EM5 II, and the one on the right is the converted and adjusted raw file. They're an expression of knowing your camera and Workspace. They are NOT the result of AI, computational photography, a LUT, or advanced image editing. Photographers in Group A will typically complain about the EM5's small sensor and its low dynamic range, and those in Group (image) B will discuss new ideas to improve their knowledge and technique?

Olympus EM5 II & 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/500. The new ISO technique lets us control any highlights in the above scene.

4. Knowledge and practice are +50% of what makes photography fun

How did I create Image B (Figure 1)? I separately optimized the sensor from my ISO. Image quality is a function of sensor saturation, and image brightness is a function of the ISO, Gamma Curve (camera and WS), and Workspace (Exposure Compensation). The EM5 II is known for its image quality and the sensor's smaller noise floor. The DxOMark "Low-Light ISO" rating gives us a safe range to tweak our highlights in the camera and Workspace (WS). (1 to 2 stops are all we need)

This new technique consists of a few basic steps. The Image brightness can be adjusted in the camera or Workspace while the sensor is saturated. We can also use Gradation, Highlights/Shadows, and/or the WS Tone Curve to tweak the Enhanced Raw File's Gamma Curve in the camera or Workspace.

Olympus E620 w 12-60mm f2.8 Lens - ISO100, f8.0, 1Sec. 3 AE bracketed raw files were converted and edited (HDR) in Photoshop.

Are there other ways to create Photo B? Absolutely. I used this method to show the camera's sensor and ISO function. Some will say the EM5 II is ISO Invariant. Folks, the "size and capture" theory and "ISO Invariance" are marketing theories. Those pushing them can't clearly explain the origins of image noise (SNR), the sensor's noise floor, or why only "some" sensors are "ISO Invariant."

Here are the steps I used to create Image B:

1. Image A. The sensor was exposed (f4.0 and 1/25) at its base ISO200 (Auto Exposure).
2. The DxOMark "Low Light" Sports rating showed I could safely vary the ISO with +/- 2EV.
3. That meant the camera's "highlight" exposure settings should be f4 and 1/100 at ISO800.
4. I manually used ISO200, f4, and 1/80th shutter speed @ 20% ETTR (+/- 2EV highlights).
5. ISO200 gave me control over any clipping highlights with the camera and Workspace.
6. I applied my final ISO (brightness) adjustments via the Enhanced Raw File & Workspace.
7. With regular practice, it's also possible to edit the Gamma & brightness in the camera.

Olympus E410 w 14-42mm lens - ISO400, f13, 13 Sec. The highlights and general IQ of the E-410 will benefit from this ISO technique.

It takes time to visualize and create new techniques. It improves our experience in problem-solving, Olympus Cameras, and Workspace. For example, the concept of ALL sensors having a noise floor is part of this technique. It's only possible to control any clipping highlights with an optimally exposed sensor. I experienced no increase in noise for Photo B (ISO200, -2EV image) or the image below.

Here is another method to create Photo B (Fig. 1). Olympus cameras automatically vary the sensor's saturation level with AE Bracketing. That means the camera doesn't change the ISO in AE bracketing mode. Use ISO800 and the "2f 1.0EV" bracketing option to take 2 photos. Manually take another image at ISO200 (-2EV) and the 20% ETTR aperture and shutter values. Do your final Gamma Curve and image brightness adjustments in the camera or Workspace.

Olympus EM5 II w 7-14mm f2.8 lens - ISO64, f7.1, 1/125. ISO64 helped me to up the SNR and saturate the sensor.

Conclusion

Modern digital cameras and mobile phones are great products with excellent Image Quality. While AI re-uses (copies) almost anything someone else puts on the web, the difference is those who step away from reckless marketing theories, master their digital cameras, and practice frequently.

This article showed the value of knowing your digital camera. It enabled me to control the clipping highlights while managing the sensor's SNR independently. This ISO technique is designed to benefit from the DxOMark "Acceptable Image Quality" rating, meaning I will have a minimum Color Depth of 18, a DR of 9EV, and an SNR of 30db (no ETTR) at ISO800. My ability to prioritize and select/edit older RAW files benefited from my ISO, Sensor Saturation, and SNR (visible image noise) knowledge...

One final example of timing, compositions, and complex exposures.

Alex Nail is a great landscape photographer. He took a group of photographers into the Drakensberg mountains. The vegetation in this mountainous region brought back memories of my Heimat, South Africa. Image quality is not only a function of your camera because all digital cameras have unique strengths and weaknesses. The joy of photography is mastering your camera's limitations...

Top Intel iMacs for Photographers...

Last updated:- 15th September 2023

The kind of iMac and processing power you need are regulated by the software applications plus AI features you have. See this article and my Workspace Update Page (firmware) discussing why I upgraded my iMac. Being in the market for a new PC, I quickly realized I needed more time to find the right photography solution. It's impossible to configure a good photography solution with the technical and advertising information from Apple. I used this website as a technical reference. 

Apple upgraded their iMacs in 2014, 2015, 2017, 2019 and onwards. After much research, I decided to look for an Intel 4-Core i7 (4.2GHz), 5K display 27", 64GB (2666MHz DDR4) RAM, AMD Radeon Pro 580 Graphics (8GB), an SSD hard drive, and similar ports as my old iMac. I learned how secondhand iMacs are the best way to find a photography configuration for under $900.

Higher rating i5 or i7 Processors with 4GB and higher graphic cards are enough for most photography applications. It was expensive to increase the RAM memory when these iMacs were new. For example, users could add more RAM memory on pre-2017 models after receiving the iMac. These RAM modules are now available at a fraction of the original Apple pricing.

Used iMacs are great business opportunities for those trading in secondhand computers, and patience is the best advice for those purchasing a used iMac. The safest option is to work with official Apple dealers or target the owners directly. Apple has excellent info on its support site. For example, what should one verify when buying a used iMac? I created a list of questions I asked before making an offer. This made it possible to cancel if I found any issues while collecting a used iMac.

What about 4K video editing and converting large numbers of RAW files? Each photographer needs to be specific on what they need. For example, you don't need 4K editing if you are new to video. As high as 95% of homemade videos are perfectly good at 1080P. My "new" iMac edits and renders 4K videos. Processing 4K videos versus 1080p means significant performance increases. 4K videos also use 4 times the pixels as 1080p recordings, and most viewers won't spot the difference...

Buying a secondhand iMac was a process of making compromises. For example, the 2020 Intel i9 Pro iMac is great if you are ready for the expense, whereas the costs decrease on older iMacs, while the risk of a burned-in display increases. These older Intel iMacs are excellent PCs and perfect for those on a budget. The key is preparation and patience when buying or collecting a used iMac.

Any of the above examples are excellent photography solutions, and the i5 iMacs with 4GB graphic cards are great photography alternatives. For example, the 2015/17 (i5/i7) iMacs with 4GB or 8GB graphic cards became my Performance/Cost favorites. Study the i5 details right above the i7 line on this website. This site has more technical information to help you specify your used iMac.

Conclusion

Why not a 24" iMac with an M1 or M2 Apple Processor? I bought the 2017 Intel iMac (above spec), which consistently outperforms my Macbook Pro M1 with 16GB RAM. I photograph almost every day in the summer, and I have been editing my Enhanced Raw Files on my Intel iMac and Macbook M1 Pro. Interestingly, the older i7 Processor outperforms the M1 Processor with Workspace, Photoshop CC, iMovie, Final Cut Pro, PhotoLab 6, and the different office applications I have...

The 27" display is also fantastic for video or photo editing. I often process the same images on my iMac and Macbook Pro. The MacBook Pro cannot compete with the larger display of the iMac. My wife tried my 27" iMac 2013 but preferred her 2012 Mac Mini with the 24" Apple Cinema Display. The final PC configuration you select should work for YOU...

What about Workspace? I am satisfied because the "new" iMac made a huge difference. Workspace, Photoshop, and Photolab are quick, and I experienced no negatives. My only concern is the high level of access some applications request during the installation. Fortunately, it's possible to manage the level of access these software applications receive. It pays to carefully configure your iMac...

Don't let promoters confuse you to spend way too much...

Best

Siegfried

Photographing the city of Prague with my EM5 II...

 Last update:- 22nd August 2023

Specifying a new PC, social media feedback, and finding information felt like a sailboat tacking back and forth to its destination. Knowledge and experience helped me to spec my "photography" iMac and create a basic diagram to help me evaluate the different iMac options and configurations.

I also benchmarked my existing iMac to my Mackbook Pro M1 while editing some of my images and video clips of Prague. My current iMac is 10 years old and the same one I used to process my Prague photos in 2015. I am preparing a new article to review the process of upgrading my iMac. This article focuses on Prague and the software I used to re-edit my Enhanced Raw Files in 2023...

The images in this article were taken with the Olympus EM-5 II and the MZuiko 12-50mm f3.5 - 6.3 EZ kit lens.

I was stunned by the added flexibility of processing my EM5 II raw files in 2023. I recall editing them in 2015 and the frustration of having reasonable results. The question is, what changed in 2023? Did Workspace, the Enhanced Raw Format, or editing software like Photoshop and PhotoLab improve enough to make a difference? How much was my personal growth over the past 8 years?

This is the jpeg image from my Olympus EM5 II with the Pop ART II filter.

Are 10 years of editing enough to bridge the hardware limitations of my iMac? I never experienced my iMac as outdated because it worked well every day. The most recent update to Workspace V2,2 reminded me that my iMac was 10 years old. What followed were questions like, should I consider a new iMac for the next 5 or 10 years, and should I get a new or secondhand iMac...

I couldn't stop thinking about these raw files and the good results of the past two weeks. How did the EM5 II manage this level of data with an older sensor? The low noise levels of the night or blue-hour scenes surprised me the most. Are these levels of image quality possible with an older M43 camera or a reason why the EM5 II continues to be an excellent mirrorless camera in 2023?

My Exif data showed I used an exposure shift and/or compensation of up to +0.6EV. This benefitted the saturation level of the EM5 sensor. More Exif data revealed that my ISO was often at ISO200. I recalled having a tripod ready when I discussed this with my wife. This explains the good EM5 II results. I used a steady tripod platform, and ISO200 helped me to saturate the sensor. The only thing left was to purposely improve the tonal data of my images. If I only knew more in 2015...

Saturating the sensor simply means flooding the sensor with light...

For more on this subject, study this article.

Live COMP, BULB, or COMP would have been interesting for this scene...

My knowledge of digital cameras was limited to a short list of marketing filters in 2015. For example, I never tried to improve the tonal data of my recordings and never used the High-Resolution function of the EM5 II. Just imagine I had 40MP available and never used it...

Editing the Enhanced Raw Files from Prague left such a positive impression that I decided to spend more time with my EM5 II. Yes, my focus is shifting back to older Olympus cameras...

The above image is an example of three bracketed raw files. I benefitted from having a steady tripod platform and processing my HDR shots with Photoshop. See this interesting article...

Workspace works best with accurate WB and Exposure measurements. My editing sequence starts by converting my Enhanced Raw Files with Workspace and editing the converted 16-bit Tiff files with Photoshop. I use PhotoLab for the more challenging cases and Photoshop for my HDR or final editing steps. I applied all these editing options in this short article about my photos of Prague.

An example of replacing the sky with the 2022 version of Photoshop CC.

The combination of Workspace and skilled photographers is powerful. No other editing software uses the same Image Processing as your Olympus camera or enables us to edit our camera settings. This is why the combination of Olympus cameras and Workspace is so fascinating. I still have some older Four-Thirds E-Series cameras from Olympus, and they all benefit from Workspace and the Enhanced Raw Format. This is one of the biggest unknowns of OM-System and its future vision...

I remember being a little frustrated as we landed in Prague. The skies were filled with clouds, and I typically avoid diffused conditions like this. I didn't know much about managing my image sensor's performance and decided to use ART Filters in Prague. The disadvantage of diffused conditions is having weaker shadows. I like the 3D effect one gets from stronger shadow contrasts.

It was a pleasant experience to re-edit these Enhanced Raw Files in 2023. The Enhanced Raw Format enabled me to deselect the Pop Art Filter in Workspace. The rest was a simple process of re-living my stay in Prague and converting my raw files to the way I remembered the city of Prague.

Another sky replacement with Photoshop...

I converted the 3 raw photos below with PhotoLab 6. DxO PhotoLab is one of the best applications for rescuing difficult or incorrectly exposed raw files. Workspace is not a recovery service. 

XXX

Lensbaby and Olympus Creative Functions

Last Updated:- 25th October 2022

Introduction:

I believe M43 photographers are generally well-informed and eager to explore their digital cameras or the pros and cons of using different types of image sensors. This is why I like to share information when I discuss digital cameras. For example, we studied a basic block diagram of the camera, the evolution of sensor sensitivity, and the various aspects of reflected light. We also looked at concepts like Managing your Exposure Mix or Saturating the Image Sensor. 

This means we studied the different ways of managing the reflected light exposing the sensor or the efficiency of the image sensor. We also looked at the differences between creativity and image quality and how to apply the best exposure mix for either creative or maximum image quality.

For more about the above, see:-

• For more about managing image sensor performance - link

Index for this Article:-

• Introduction
• The Lensbaby Composer
• Secondhand Cameras and the Olympus E-30
• The Olympus Live View function
• More about Creative ART Photography
• All the images and descriptions can be used as examples

Olympus E-PL7 with 9-18mm f4.0 lens - ISO200, f5.6, 1/640 - Jpeg edit in WS with Pen-F 1020 Color Profile and Keystone

We also discussed Art filters, Color concepts, and Creative photography while reviewing the Olympus Color Creator and Color plus MonoChrome Profiles. We learned how to create and apply Color Profiles and started the Workspace How-To page. We studied WorkSpace and how it simulates the TruePic Image Processor with the same camera settings as your Olympus camera. 

• You will find my WorkSpace How-To page here, 
• And my different Pen-F (and E-P7) Profiles here. 
• And this article about editing with Workspace here

I talked about the creative strategy Olympus introduced in 2006 with the E-330. Tracking the strategy, it seems like it coordinated R&D priorities and the creative and computational features from Olympus. For example, the E-330 was the first DSLR to offer Live View, and the E-30 was the next step in terms of creativity and the future of Live View. Each camera after the E-30 added more specifics to the creative roadmap Olympus introduced with the E-330.

Olympus EM5 II with Composer Pro - Raw edited in WS with Color Creator, Shadows/Highlights, and Vignetting

Our next challenge is reflected light or luminance and how to control it. I cannot help to think of analog photography when I discuss reflected light. For example, should we take a new look at flash photography and how to manage light in future articles?

This article studies the Lensbaby Composer and how it modifies reflected light. This is only one of many ways to add another layer to your photography experience with Olympus cameras...

Taken with the EM1 II and 45mm f1.8 - I specifically controlled the light using only one FL600R flash

The Lensbaby Composer

When I finished my "1020" Color Profile in June 2021, my thoughts drifted to my Lensbaby Composer with the "1020" color profile. What a surprise when I tried the 1020 color profile with my Pen-F and the Composer. They proved to be an exciting and engaging combination.

This encouraged me to spend more time with my Lensbaby Composer, and from the images, one could see this was a good option for doing ART photography. In addition, more recent Olympus cameras have more freedom in terms of creativity, WorkSpace, and the "Enhanced Raw Format".

One of the challenges I have with my Lensbaby Composer is its physical diameter when putting it on my OMD camera. For example, I cannot put the Composer (Tilt Transformer) on my EM1 II. The Pen-F is OK with the older Composer because it doesn't have the OMD Viewfinder hump.

Taken with the Pen-F and Composer, using the New "1020" color profile - used as a display background image

One of the mistakes photographers make is to use the Composer with photo walks. The secret is a slower pace when photographing with something like the Pen-F and the Composer. It's best to relax and focus on your surroundings during the unique creation process of the Composer.

I found it becomes easier to work without a tripod when I use my Composer more frequently. It could be the Twist 60 add-on I use with my Composer. This is truly a unique way of ART photography and I highly recommend this type of Art Photography...

The next consideration with something like the Composer is image editing, sharpening, manual focusing, manual exposure, and selecting the right settings for your Composer. For example, which ART filter complements a particular image, editing, or photo style?

Olympus EM10 MKIII with 17mm f1.8 lens - ISO100, f11, 1/60 - Normal and Pop Art converted Enhanced Raw Files blended in PS

It's fun to see the hypercriticism when mentioning ART filters. We don't see that with Adobe features like the new selection tools for Photoshop 2023. Instead, we have photographers exploring these new features. Why should it be different for Olympus? For example, most photography sessions start with planning, selecting the right settings, framing, and taking the image. Like Photoshop, none of these steps are identical between images. Is your histogram or ART filter only good for one thing?

That's why I like the idea to avoid camera reviews and photography forums. It takes a little practice and out-the-box thinking to apply your Olympus ART filters in many ways. For example, the above example was created from 2 images which I converted from the same raw file in Workspace... 

Pen-F with Composer - taken with the new "1020" Color Profile and changed to the Diorama ART filter + frame in WS

Secondhand Cameras and the Olympus E-30

I discussed the growing supply of secondhand cameras in one of my previous articles. For example, while scouting our local sites, I found an E-30 at a good secondhand price. I tried the E-30 shortly after its launch in 2008, but having the E-3, I decided not to get the E-30.

I recall enjoying the E-30, the new ART filters, and the good image quality of the E-30. I went back and studied my E30 test images before buying it. It's interesting how Olympus evolved from the E-30 to the newer OMD and PEN models. I added a few of my E-30 test images to this article...

Olympus E-30 with 14-54mm f2.8-3.5 - ISO100, f7.1, 1/320 - Jpeg edited in PS and Luminar 4

The Olympus Live View function

It's good to know how Olympus implements the Live View function. One of the more interesting aspects of Live View is the Creative Features from Olympus and how they use Live View to track the changes in the image. This differentiates Olympus from other camera manufacturers.

For more on Live View, see this article.

The Live View image on your camera display or EVF is basically a replica of what is happening on the image sensor. The only difference between the raw sensor data and the image on your camera display is the "Display Profile" decoding the raw sensor data. For example, we can add another layer of our own settings to the raw sensor data. The result is a new kind of Enhanced Raw Format which enable us to replicate this layered camera "Live View" file in WorkSpace.

E-520 with 14-42mm Kit Lens - ISO100, f5.6, 1/100 - Raw file edited in PS. Easy edit to preserve the Olympus look and colors

The reason I discuss Live View and WorkSpace is simple. Your Olympus Live View function plays a key role in the image creation process because it was designed to assist the Olympus photographer with a better "window" into the image creation process inside the camera and WorkSpace. 

That means your creative photography or Enhanced Raw File conversion (editing) experience benefits when you learn how to work with Olympus Live View in your camera and Workspace...

Olympus Pen-F with Composer and Tilt Transformer using my new "1020" Color Profile

In fact, the creative features from Olympus are so good, that it's very difficult to get the same results when processing Enhanced Raw Files with other raw converters. Add Workspace to the mix and the ability of Workspace to replicate the camera settings, and it's even more difficult to process raw files with any of the more popular raw converters. (See the E520 example further down)

I do have Photoshop and like to edit my 16-bit Tiff Workspace files with Photoshop. This gives me the best of both worlds. What makes the Composer combination with Olympus so interesting is Live View. It gives the photographer the ability to watch the image develop while adjusting the Composer. This reminds me of Live Composite, Live Bulb, and Live ND filters.

Olympus E-30 with 14-54mm f2.8-3.5 lens and using a fill-in flash - Jpegs slightly edited in Photoshop

More about Creative ART Photography

I never tested any of the newer LensBaby lenses. I prefer the unique style of the older Lensbaby lenses. That said, my Composer is not as engaging with older M43 cameras like the E-P1 or the E-M10. The older M43 bodies are not creatively as exciting as newer models. Another aspect of older Lensbaby lenses is they are not expensive secondhand and mostly in a good condition. 

Yes, it's possible to have similar results from Photoshop, but it's not the same as using the camera and the Composer. It's possible to enjoy hours of creative photography with Olympus and the Composer. Think of nature photography, city streets, portraits, and botanic gardens. Your Olympus and Composer combination is compatible with almost any photography style.

See this Instagram account...

Olympus Pen-F with Lensbaby Composer and my new "1020" Color Profile

Pen-F with Composer and my new Color Profile, then taken back to Live View in WS and changed to an ART Filter

The different Olympus creative features like ART filters, Scene Modes, the Color Creator, and Color or MonoChrome profiles are all 100% unique. This means we have a camera and software platform with a unique set of creative features to practice and create new masterpieces... 

Olympus Pen-F with Composer - I used the new 1020 Color Profile with a bit of white vignetting

Folks, it might be too much for some when I repeat phrases with ART or creative photography. The thing is, photographers created art for years and it's nothing new to see special effects from filters, ND filters, or polarizers. Not even the Lensbaby concept is unique. What is new is how Olympus managed to create a software version of the same Truepic Image Processor in Olympus cameras.

See this interesting discussion on DPReview about Photography and Art...

Olympus Pen F with the Composer Pro and Sweet 35mm lens

The personal growth you can expect from expanding your thinking and using something like Lensbaby with your Olympus camera is more than exciting... 

For example, while photographing, think of the final image and the steps you will take when converting the Enhanced Raw File or editing the 16-bit Tiff file in Photoshop. It's now possible to continue the creative process in Workspace when converting your Enhanced Raw Files.  

Olympus Pen-F with Lensbaby Composer and my new Color Profile and Vignetting

If you need more information about Lensbaby, see this link. You will discover more information in the download section. Do a search for secondhand Lensbaby lenses and experiment with them. It takes time and patience to be more comfortable with these Lensbaby lenses...

As said, the Lensbaby Composer does not communicate like regular Olympus lenses with your Olympus camera. They also do not have AI, AF, or CAF. 

Lensbaby lenses are so basic that one literally takes the right aperture disk and places it inside the lens. See the diagrams below of my different Lensbaby components and a quick "How-To" guide.

The basic components of the Lensbaby Composer and so-called Tilt Transformer (bottom part).

What makes the Lensbaby Composer so interesting is its continuous adjustments. It's possible to "adjust" the Composer until one gets the right image look. For example, use a Nikon lens with the Transformer and you have a basic tilt-shift lens. 

The illustration below shows the Lensbaby Muse with the Tilt Transformer. I do not know if the Composer is still commercially available. You will find them secondhand...

Here you have different options or possible applications with the Composer

The next generation after the first Composer is the Composer Pro and now we have a Pro II. As you can see the Pro is the safe option for OMD cameras. That said, the newer Pro is not as flexible or interesting as the original Composer. 

Any of the older LensBaby lenses or next-generation lenses are worth trying if you like to experiment with these fine lenses. 

Olympus Pen-F with Lensbaby Composer - I used the Color Creator, WB, Curves, and Vignetting in the camera

Olympus Pen-F with 70-300mm f4.5-6.7 - ISO640, f8.0, 1/2500 - Raw edited in WS, Pop Art filter, and vignetting

If you prefer a simple walk-around lens, look for the Composer Pro. They are smooth and the Sweet 35mm add-on that comes with it has a built-in aperture unit. The EM10 II and EM5 II are good for the Composer Pro series.

The Lensbaby Composer Pro on my EM5 II - The Sweet 35mm with Aperture ring is fitted to the Pro

Olympus EM5 II with Composer Pro - Raw edited in WS with Pop Art, and Shadows/Highlights

Olympus Pen-F with the Composer Pro with Macro and Sweet 35mm lens (1020 Color Profile)

Olympus EM5 II with Composer Pro - Raw edited in WS with Pinhole ART filter

Olympus EM5 II with Composer Pro - Raw edited in WS with Color Creator, Shadows/Highlights, and Vignetting

Olympus EM5 II with Composer Po - Raw edited in WS with Vintage ART filter, Shadows/Highlights, and Vignetting

Olympus EM5 II with Composer Pro - Raw edited in WS with Grainy Film ART Filter, Shadows/Highlights, and Tone Curve function

Olympus EM5 II with Composer Pro - Raw edited in WS with Color Creator and Vignetting

Olympus Pen F with LensBaby Composer and Twist 60 at f2.8 - I used the Watercolor ART filter in Workspace