Olympus EM-5 III, Workspace, and AI noise reduction

Last update: 14th December 2025

My wife and I visited the X-mas show on the island of Mainau in Lake Constance, Germany. The island of Mainau is known for its seasonal flower presentations and the X-mas show in December. I decided to take my E-M5 III and my favorite 25mm f1.4 lens due to expected cloudy and low-light conditions. I also knew many people would visit the X-mas show, which meant less time for me to frame my shots, handheld photography, and higher ISO values. I recently sold my M.Zuiko 17mm f1.2 pro and kept my Leica 25mm f1.4 lens. The Leica is simply a more exciting and versatile lens.

I converted my RAW files with Workspace and prepped some of my posted images with Affinity. The images in this article showcase the older 20MP sensor's ability to capture enough data for high-quality results across the sensor's linear operating range. Low-light photography is a joy with a combination like the EM-5 III, the Leica 25mm f1.4 lens, the Enhanced Raw Format, and the Workspace AI noise filter. One could get even better results when adding the OM System OM-3 to this mix.

Note: I added an example of changing my camera settings in Workspace.

Christmas reminds me of the birth of Christ and X-MAS of something totally different...

The E-M5 III is known for its image quality, pro-level sensor, and tiny noise floor. The depth-of-field (DOF) advantage of M43 cameras supported my decision to use f1.4 in these low-light conditions. I also knew the E-M5 III cluster AF function would optimize the DOF with the right autofocus point. The AI noise filter from Workspace is perfect for ISO 800, 1600, 3200, or 6400 if needed.

The bright LEDs and overpowering colors of the X-mas show made it difficult to capture what we saw with my standard camera configuration. I knew I could review my camera settings with the enhanced raw format and Workspace. I also knew I could use EP-7 color functions with the enhanced raw files of my E-M5 III. See my articles on Olympus cameras, the TruePic image processor, and Workspace.

I highlighted several critical aspects about modern image sensors in 2025. The most significant aspect is the sensor's optical versus technical characteristics and the photons-to-electrons conversion graph. The latter help us to master aspects such as sensor saturation, SNR, and the linear nature of recording reflected light. I will focus more on this linear aspect of sensors, the gamma or tonal curve, and color in 2026. For example, modern pro-level sensors perform well across this linear range.

Photographers learned to appreciate the human aspects of photography in 2025. The introduction to AI highlighted concerns about photography know-how when substituting knowledge for sensor size, AI masking, and AI autofocusing. A critical aspect for review is the difference between computational or AI features and statements from web services like ChatGPT and xAI. The mix of theoretical, political, and commercial platforms serving as AI data sources highlighted critical discrepancies when receiving information from xAI or ChatGPT. For instance, AI will claim that bigger sensors are better when referencing data sources such as DPReview, or the camera's optical and technical design criteria guide the camera and sensor's operating efficiencies when referencing theoretical sources.

My personal highlight for 2025 is Affinity and learning more about the innovative RAW conversion and editing initiatives of the previous imaging business. Workspace became one of my preferred options while testing and studying Olympus cameras. See my articles for more about creative color, the M43 digital sensor format, color basics, the gamma (tonal) curve, sensor saturation, and SNR. Workspace is a reference to the groundbreaking solutions initiated by the previous imaging business.

Another highlight from 2025 is OM System's ongoing commitment to photography and the M43 segment by introducing exciting new products. My personal favorite is the OM System OM-3. The new OM-3 has quickly become a worthy replacement for my older Pen F. I am looking forward to writing more about Workspace and cameras like the OM-3, the E-M1 III, the E-M5 III, the E-P7, older cameras like the E-M5 II, and Olympus DSLRs like the E-3, the E-30, the E-620, the E-500, and the E-450.

PS. I think we should acknowledge and support this commitment to the M43 segment more in 2026...

Global color adjustments like WB or the Color Creator works better for LED and reflected "color" presentations like these. Why?

The color control we have with Olympus (OM System) cameras and Workspace surprised me. Reflected light and WB are normal variables for camera manufacturers. WB is typically expressed as sunlight, shadow, clouds, and artificial light. The EM-5 did not know how to interpret the extreme color shifts of the colored light sources at Mainau. The Color Creator is not only unique in "normal" lighting but also for colored light sources like large concerts, laser shows, and LED presentations...

The images in this article show what's possible when we ignore "independent" social media influencers repeating the same scripted lines or those simply repeating similar "bigger is better" lines. Take the time to learn more about Olympus and OM System cameras, Workspace, and how they could benefit your photography and image editing. It shouldn't be a surprise that modern M43 cameras capture high-quality RAW data. Some just make it much easier to create excellent JPEG images.

Folks, I like to wish you a blessed Christmas season and only the best for 2026.

Siegfried

An example of the extreme color effects at Mainau. Workspace gives us tremendous control.

Olympus E-M5 III with the 25mm f1.4 Leica lens. ISO3200, f1.4, 1/5th. I converted this night scene (Enhanced RAW file) in Workspace.

The 8 variables influencing your exposure mix...

Last updated:- 30th July 2025

The advantages of a more inclusive process managing the eight variables governing the exposure mix are negatively impacted by competitive marketing strategies, the outcome of changing from analog to digital, and the commercial focus on the sensor. A thorough study of theoretical principles showed that the commercial focus on the sensor undermines the efficiency gains resulting from an improved process determining the camera's exposure and tonal mix. Let's review how this collective process of considering eight exposure variables leads to more consistent digital imaging results.

Most photographers are introduced to digital photography through the lens of the exposure triangle, which defines shutter speed, aperture, and ISO. Photographers are generally advised to keep the ISO low, as higher "sensor sensitivities" could lead to unwanted noise. Aperture and shutter speed ratios not only influence the exposure mix, but they also guide optical effects such as depth of field, while varying shutter speeds are used to express movement. While this explanation is perfectly normal for most digital photographers, the most critical elements of finding an optimum exposure and tonal mix are missing. Why would "experts" constantly neglect to review all relevant information?

This mainstream view of the exposure triangle gave modern marketers a competitive advantage. For instance, would you classify the exposure triangle as leaning more towards analog or digital cameras? It is worth considering that modern marketing programs tend to add elements of truth while omitting critical details. The illustration below is a more practical and detailed flow diagram of what happens inside the camera as the image signal enters the lens and passes through the camera.

Figure 1.

Most digital photographers are familiar with the journey of mastering the dual purpose of the shutter and aperture mix. Achieving a perfect exposure mix includes optical effects such as background blur or the interpretation of moving objects, which demands both experience and regular practice to eventually become a natural routine. You may be surprised at how quickly one learns to add sensor and gamma controls to this traditional process of finding an ideal exposure and tonal mix.

The eight exposure variables affecting an optimum exposure mix and tonal response:

1. Each digital camera (sensor) has unique technical and optical limitations.
2. There is way more to the camera's sensor than its diagonal measurement.
3. We use the aperture and shutter to expose and saturate the image sensor.
4. The ISO amplifies the image signal; it does not adjust sensor sensitivity.
5. It's crucial to know more about the sensor's noise floor, saturation, and SNR.
6. Consider and manage the 4th exposure variable: Average scene luminance.
7. Managing the camera's sensor improves dynamic range and reduces noise.
8. The unique differences between the exposure mix and tonal adjustments.

I converted/edited this EM5 II enhanced raw file in Workspace. I used tonal adjustments to finalize the look.

The flow diagram in Fig. 1 illustrates the image signal path from the lens to the final JPEG. My advice is to familiarize yourself with this illustration. The following points are helpful:

• The shutter and aperture control the reflected light to the sensor.
• Manage the avg. scene luminance with a flash, diffusers, or time of day.
• The ISO amplifies the image signal and noise from the image sensor.
• The TruePic image processor manages the image creation process.
• The gamma curve converts linear sensor data to a "human" format.
• The gamma Gradation feature also controls the exposure controller.
• The enhanced raw format links the TruePic processor to Workspace.
• We use a fixed ISO to monitor/control the reflected light to the sensor.
• A fixed ISO means the histogram reflects the shutter and aperture.

A general version of this Olympus information applies to all digital cameras. For instance, similar to the Olympus gradation function, Fuji has DR100, DR200, and DR400, and Canon has the Auto Lighting Optimizer. Tonal or gamma controls are shadows, highlights, and midtone adjustments, plus the tone curve option in Workspace. For more in-depth articles on these topics, refer to this link.

Workspace is a great RAW converter for the Olympus photographer. It has a full range of raw controls and is one of the best options for the Olympus enhanced raw format. I also prefer the AI noise filter applicable to some Olympus cameras. Workspace is an excellent tool to highlight any image and video quality concerns highlighted in commercial editors. For instance, while Workspace shows NO clipping, other raw converters seem overly eager to highlight overexposed or clipped areas.

Study my articles on exposure and the photons-to-electrons graph and how we apply this knowledge to control the sensor's saturation and signal-to-noise ratio (SNR). The photons-to-electrons graph also explains more about the sensor's noise floor and how we plan/control noise and dynamic range. It also lets us explain sensor sensitivity, or why older Olympus cameras use a base ISO of 100 while others use 200, plus so many more interesting aspects about the sensor and digital cameras. You don't need to trust those claiming the performance of complex electronic components is linked to size...

Recently, I've seen numerous comments suggesting that M43 cameras have lost their size advantage since FF cameras are now nearly the same size. While it's crucial to note the differences in both size and price of professional lenses, a more troubling issue resulting from the smaller form factor of FF cameras is increased operating temperatures. Higher temperatures lead to more image noise.

In the past, I stated that knowledge is enough to significantly benefit your digital photography. I often reflect on that assertion and wonder if I may have been overly optimistic. As I tested various high dynamic range scenes while preparing for this article, I was reminded of how quickly these new sensor and tonal considerations became an integral part of determining my final exposure mix.

I'd like to offer some general advice to enhance your digital photography experience. One key piece of advice is to steer away from forums and camera (YT) reviews, as they tend to be echo chambers that primarily advocate for cameras with larger sensors. This emphasis on the sensor can create the perception that the image sensor is solely responsible for the digital imaging process.

I plan my RAW processing while setting my exposure mix. This includes tweaking my exposure with the camera's exposure compensation slider, or the EC slider in Workspace. This is followed by tonal and color tweaks, including image contrast and sharpness with the tone curve function. The primary goal of tonal adjustments is to highlight the natural lighting variations of the scene.

I converted and edited this EM5 II raw file with DxO PhotoLab 7.

I converted and edited this EM5 II raw file with Affinity Photo 2.

I converted and edited this EM5 II raw file with ON1 (ON1 has several AI editing features).

I also like to highlight another critical aspect of determining your exposure mix. Many photographers underestimate the depth of field advantage of M43 cameras. Selecting the right aperture/focusing ratio is often enough to gain two or more stops from the final exposure mix. This gain simply relates to better control over dynamic range, noise, and the recorded tonal data.

These are the general steps I use to finalize my exposure and tonal mix:

• I mainly use Aperture or Shutter Mode with a fixed ISO.
• Learn how to leverage the DOF benefit of M43 cameras.
• Use IBIS to benefit your shutter/aperture exposure mix.
• This does not mean NOT having the right shutter speed.
• Select the right focus point to extend the in-focus area.
• Practice how to gain 1 to 2 stops without upping the ISO.
• Study this article for more about the Gradation function.
• My final camera exposure settings are 98% optimized.
• This includes specific gradation options for the camera.
• That means I do only small exposure corrections in WS.
• With practice this quickly becomes a natural process...

One image was taken with the Stylus 1s and the other with the EM10 IV. I converted the enhanced raw files in Workspace.

Exposure and tonal adjustments are two different things. The Gradation function does have a link to the camera's exposure controller, which lets it control clipping and alter the camera's gamma curve. Tonal adjustments like shadows, midtones, highlights, and the tone curve option of Workspace allow us to paint with light or manage how people experience the scene's natural lighting.

This is how I configure my Workspace editing pallet. Also, see this link for more information. I updated this PSD file in Affinity Photo 2.

Those trusting the sensor use tonal adjustments to "recover" clipped highlights and shadows, whereas those improving their knowledge on digital cameras apply framing, all four exposure variables, and tonal adjustments. For instance, how do we enhance shadows or low-light information? One option is ETTR, or improving the SNR. Another is a fill-in flash or luminance layering and editing.

How do we assess whether tonal adjustments change the exposure mix or gamma curve? The solution is to create test scenarios with different camera configurations and settings. For example, why does the Gradation function only modify the gamma curve when applied in Workspace?

A final image from the Olympus EM5 II with the M.Zuiko 25mm f1.8 lens. I converted the enhanced raw file in Workspace.

The average dynamic range and noise differences between digital cameras are one to two stops. As one gains experience, it becomes evident that the ongoing sensor debate overshadows the crucial roles of the camera, lens, sensor, TruePic image processor, firmware, and the photographer's role in establishing and leveraging the exposure and tonal mix to maximize the recorded data.

There is so much more to discover when exploring the technical aspects of the image sensor. For example, ISO comparisons are not particularly useful since we can only confirm camera settings and NOT the status of the 4th exposure variable or SNR ratio. I would rather see a detailed review and report on the sensor's sensitivity or photons-to-electrons graph, a camera operating temperature and noise analysis, and a practical and detailed application report of the camera's AF function.

See this link for more about noise and dynamic range variances.

Siegfried

It's not the camera or the lens telling the story...

Last Update: 31st May 2026

As the years pass by like chapters in one's book of life, I find myself reflecting more on the paths I chose in life. In my youth, I consciously opted to turn away from the idea of a rainbow nation. Twice the Lord granted me the incredible opportunity to work overseas. Consequently, my children spent a significant portion of their formative years in the majestic landscapes of Switzerland. Now, as my wife and I approach the twilight of our lives, we look forward to drawing nearer to our children, who have embraced their new Swiss identities, becoming more Swiss than South African.

Taken with my 8MP Konica Minolta Dimage A2. A lovely scene at the Kruger National Park in South Africa.

As I paged through my image collection, the warm melodies of CDs I'd crafted from my cherished LPs filled the air. The music, rich with that classic vinyl essence, resonated beautifully through my Ken Ishiwata Marantz CD player. I couldn’t help but wonder how much joy these timeless LPs would bring me today. What a stark contrast to the moment I decided to part with my entire vinyl collection. Little did I know just how dearly I would come to miss those beloved melodies.

As I flipped through my images, a wave of emotion washed over me, harmonizing with the gentle tunes emanating from my "vinyl" collection. Each image has its own story, transforming moments into memories. This journey of revisiting our photo collection felt like a unique moment with each photo, whether it was taken with my Pentax SLR or one of my digital cameras. What a captivating journey that intertwined my past and present, with a delightful symphony of sight and sound, until...

I took these with my Pentax SLR. A modified Thorens on the left and my own design and built on the right.

My wife and I shared a passion for photography, resulting in a vast trove of film negatives and prints. About 8 years ago, I purchased a scanner to breathe new life into our analog collection. The journey of scanning and editing our negatives unfolded in a way that was worlds apart from the familiar territory of digital photo editing. To my surprise, my knowledge and experience with Olympus , along with my expertise in using Workspace, greatly improved my analog image processing.

I took this image with my Pentax SLR and edited the scanned negative in Photoshop.

I took this picture with my Canon 350D. My wife and I grew up in the outskirts of the lovely city of Pretoria. 

My wife and I are devoted Christians. We married 40 years ago in Pretoria and raised two children.

I took this image with my Pentax SLR. Durban was always a popular and safe holiday destination.

Shortly prior to leaving South Africa for the first time.

I took this image with my Canon 350D. In 2000, we made the decision to return to South Africa.

I took this image with my Pentax SLR and edited the scanned negative in Photoshop.

I took this image with my Konica Minolta A2. We were happy seeing our relatives again. This is the Hartbeedpoortdam area.

I took this image with my Canon 350D in the Hartbeespoortdam area.

I took this image with my Canon 350D in the Hartbeespoortdam area.

I took these images with my trusty Pentax SLR. These were son and dad boat projects.

My wife took this image with her analog Olympus Mju.

I took this image with my Pentax SLR. My father and mother with 3 children (families) and 5 grandchildren.

Out of a family of thirteen, four members will remain in South Africa. Through hard work, we have excellent educational backgrounds, talent, and experience, all motivated by a commitment to invest in our country and contribute to the development and the well-being of all its citizens. However, we have been confronted with the difficult choice of embracing a new culture in pursuit of a safe future for our children. Despite the challenges, our love for Africa and its people never changed.

Lüderitzbucht, Namibia. I cannot help to think we have such awesome digital cameras today...

I took this image with my Pentax SLR. My grandparents immigrated from Germany to South West Africa (Namibia today).

It’s hard to imagine a South African family that hasn’t lost loved ones to violence or faced the trauma of horrific incidents like sexual abuse, carjackings, or home invasions. As the country marks 31 years since apartheid, it finds itself on the brink of an economic collapse while being hampered by 145 discriminatory laws preventing minorities from partaking in the country's job market. The grim reality of violent farm attacks continues to linger in the shadows, often downplayed and misreported as mere theft, yet the pain and suffering of farmers resonate tragically throughout our farmlands.

One left South Africa, and the other family became another statistic of "theft."

We never intended to leave South Africa for a second time, but life took an unexpected turn when I received an offer from Switzerland. One evening, as I was reflecting on our future, an unimaginable tragedy unfolded nearby. Three girls were left in the care of their grandmother when their parents returned from work. Tragically, with the parents being tied down in the garage, the grandmother was powerless to intervene while the three innocent girls suffered a horrific ordeal inside the home. It was in that moment, as I looked into the eyes of a girl who had endured such tragic suffering, that I realized it was time to seek a new beginning for my family. The journey away was not one of choice but rather a response to the painful injustices that plagued our beloved country for 31 years.

In the heart of the Oval Office, a spark of hope flickered to life as the President of the United States greeted the President of South Africa and his entourage. However, that glimmer quickly faded as the world’s media unleashed a troubling spectacle casting doubt on the foundations of an independent media. Our prayers are with fellow South Africans during this tumultuous time, as many struggle to comprehend the far-reaching consequences of this most recent journalistic catastrophe.

Our son and his family live in Switzerland, while our daughter returned to South Africa. Like many South Africans, she and her husband pursued opportunities abroad, leveraging their qualifications to build a new life in Australia. South Africa had a recorded population of 17M in 1981, and by 1994, a remarkable 95M participated in the country's inaugural free and fair elections.

Julius Malema chanting, kill the boer, kill the farmer. Source video (Newsline SA)

In a realm where tales of anguish fade into silence, the true extent of the oppression directed at cultural minorities remains elusive. South Africans navigate through unthinkable suffering, a reality marked by relentless brutality and violence, compounded by the disintegration of families. All of this unfolds beneath the watchful eye of an independent global media. Yet, in our current climate of doubt and skepticism, one might be tempted to downplay these horrors as mere petty theft or dismiss them as just another conspiracy woven into the fabric of Christian and family values.