A new OM-System Pen F II

Last Update:- 20th October 2024

Introduction.

I invite all Olympus photographers who enjoy Creative Color, and Monochrome profiles to come and dream with me about a future OM-System Pen F II. I discussed my preliminary reasons for a real OM-System camera in my OM-1 II overview. OMS has a unique opportunity to follow the visionary design achievements of Olympus while designing the Pen F II and a new User Interface. The user interface of cameras stagnated in the past 12 years because manufacturers focussed on the analog feel of digital cameras. We mainly saw higher-resolution flippy displays with new and different menu displays.

Imagine digital photographers using cameras with flippy displays and basic Aperture, Shutter, and ISO display data. Imagine digital photographers using the analog Exposure Triangle and treating digital camera sensors like old film cameras. Imagine this is the status quo in 2024 because photographers are told sensor size is everything and they should only rely on the "best" Sony image sensors.

The Olympus SCP was a great idea from the 4/3 DSLR days. Picture source.

Have you ever wondered why reviewers rejected the Olympus Pen F when it was launched in 2016? One of the many "size and capture" myths is large sensors produce better image quality with more colors. Global marketing departments pushed back when Olympus gave Pen F users more access to the TruePic ART Processor's data while tweaking their JPEG Colors with the new Creative Dial.

The Olympus Pen F continues to be a popular street photographer camera with its rangefinder styling, form factor, compact lenses, and MonoChrome plus Color Profile features. Many M43 photographers never tried Workspace to create personalized monochrome and color profiles because they were told it was "not good enough." This is the sad reality after continued counter-marketing programs?

It's fascinating that camera manufacturers never used sensor and CPU data to give us more options like calculated hyperfocal distances, Aperture plus Shutter effects, focus stacking, and fill-in flash info on the camera's display. Modern motorcars are great examples of using available processed data to enhance the driving experience. For example, how often do we increase our ISO without knowing it's possible to drop the ISO with 1EV when changing the focus and exposure combinations? 

The Pen F II user interface should display more processed data from the sensor and TruePic Processor. Please design a new user interface with a Sensor Performance Meter and more advanced features, like hyperfocal focus distances and a DOF meter. Focus on giving the photographer control while using the camera. Study this article for more about the next generation of OM-System cameras.

The Sensor Performance Meter is based on the following:-

• Keep the Aperture, Shutter, and ISO displays but add more sensor control.
• All image sensors have a Noise Floor. This is a common technical limitation.
• We control the image signal SNR and the visibility of the sensor's noise floor.
• Shutter Speed, Aperture, and ISO are part of the Exposure Formula, BUT:
• The Aperture and Shutter control the light to (exposing) the sensor.
• The ISO amplifies the image signal. Sensor sensitivity is factory set. 
• Sensor Saturation and IQ improve with more Reflected Light on the sensor.
• The reverse happens (more visible noise) when the sensor receives less light.
• The camera's Auto Exposure (default) settings focus on Good Image Quality.
• The synergy between Enhanced Raw Files, OMS cameras, and WS is critical.

Study this article for a detailed explanation of the DxO "Good Image Quality" ratings.

Study this article for more info on exposure and how to use ISO "Image Brightness."

Olympus photographers will benefit from a new Sensor Performance Meter because it will improve the understanding of sensor saturation and image noise. It will also help OM-System establish trust with M43 photographers by proactively managing the "sensor size" and AF cycle after every new M43 camera launch. See my OM-System OM-1 II overview for more about a new OMS camera...

How do Sensor Saturation and SNR "exposure" data benefit us? Because it's possible to manage the sensor's performance separately from the ISO. It lets us think differently about the ISO, Aperture, and Shutter Speed. It opens new opportunities, like using a saturated sensor at a lower ISO (image brightness) to control the highlights. We can correct our image brightness in Workspace because a saturated sensor allows us to lower the ISO and re-adjust it with the Workspace EC slider. This is why the Sensor Performance Meter has an A/B display option. See this article for more...

What more could we expect from a new OM-System Pen F II?

The quality of the new Pen F II should mirror the current model. It should have a high-sensitivity 24MP (Live MOS) BSI sensor with a smaller noise floor and an advanced User Interface. The target segment is street, family, travel, event, and hobby photographers. The focus should be creative computational features. The AF system should be a clever derivative of the EM1 III (EM1X) AF technology.

The focus should be creativity, flexibility, IQ, profiles, and a Workspace App for tablets and Mobiles. Please study the needs of your target segment for new computational and creative features.

Here are some additional suggestions for a new Pen F II:-

• Go back to high-quality metal camera bodies. Pls not like the Pen EP-7.
• New Hue and Luminance options for the camera's Color Adjust function.
• Add new Clarity and Dehaze sliders (Workspace) to the camera's menu.
• Create a function to copy and paste color information from Workspace.
• Rethink the ISO function by improving its link to the Workspace EC slider.
• This camera should have a high-res EVF and display with advanced features.
• The new Sensor Performance Meter simplifies sensor Saturation and SNR.
• A graphical DOF slider and new AF options to optimize aperture selections.
• Flexible Tonal Profiles with new options to tweak the Tonal Response Curve.
• If a brand thing, focus on the following AI "application" features:-
• Landscape DOF automation (AI) plus control.
• Unique AI features for street photographers.
• People, family events, and children AI features.
• I am no macro guy. Do they have any AI ideas..?
• Focus AI on applications and NOT image processing or autofocusing.
• ANY new TruePic image processors should NEVER use AI to process images.
• Build new creative communities to discuss and share info and color profiles.
• The focus should be flexibility, image quality, color, and wifi communication.
• 8EV IBIS, more Multi-Aspect Ratios, and quick handheld 50MP High Ress.
• The TruePic IX or X image processor with a vertical social media video option. 
• Design selective improvements for the Workspace video editing function.
• Add a basic Photoshop Layers function to Workspace with Blending Modes.
• The video capabilities of this camera should be tailored to the target segment.
• This is NOT a high-speed Pro Camera for bird and wildlife photographers.
• This shouldn't be another hybrid camera. Make it a photo camera with video...
• The simplicity of the Pen EP-7 is perfect. We need only need more features...
• Label this new OM-System camera a Pen-F II to excel in its growth potential...

Why don't "size and capture" promoters accept this illustration? This information counters the "sensor does everything" myth...

Conclusion

Every digital photographer should get the opportunity to learn more about digital cameras, especially the link between Image Sensors, Saturation, SNR, Exposure formula, and ISO amplification. In fact, it's disappointing to see YouTube presenters using the old Analog Exposure Triangle as a tool for planning and adjusting the digital camera's Optical, Exposure, and ISO adjustments. I can't help but question the seriousness of people ignoring the unique benefits of having advanced digital cameras...

A helicopter overview of the Image Signal Path, Exposure Controller, and Workspace. Study this link.

Do you know about the ongoing "grassroots" and social media action against DxOMark? I studied their image quality database while prepping for a recent article. DxO is receiving overwhelmingly biased reactions from "size and capture" promoters. Why the bias? Because DxO does not support or promote the "size and capture" theory like many camera review websites. How do I know that? Study how DxO explains image noise and SNR. This could be why there is no data on newer Olympus/OM-System cameras? My only interest in DxOMark is their IQ database. The last Olympus camera they tested was the Olympus EM1 II. It would be great to have more Olympus cameras tested...

Camera reviews are biased commercial promotions. DxOMark publishes test data one can use and trust...

Best

Siegfried

Let's talk about OM-System and the OM-1 II

Last update:- 14th February 2024

Introduction. 

How do you rate the past 3 years with OM-System? For example, do you expect to find engine parts in your Doctor's consulting room or a history lesson in math class? What do you like to see as you walk through the offices at OM-System? How will it compare to the previous Imaging Activity at Olympus? Do you expect to see a proper R&D facility or a marketing office with a software expert? Considering more recent deliverables from camera manufacturers like FujiFilm, Sony, Nikon, and Canon, did your perception or experience with OM-System improve over the past 12 months? 

Did AI create a reasonable reality of a typical marketing area for cameras..?

I have no insider knowledge of OM-System or whether their employees prefer Olympus or OM-System cameras. For example, should we view OM-System as a global distributor of photography gear, or do they share similar technology KPIs as the previous Imaging Business from Olympus? Shouldn't that be our top-of-mind awareness as we navigate and review different camera manufacturers?

Why the OM-System label on Olympus cameras?

It's uncomfortable to think of future OM-System products and questions like, why is your priority an OMS label on Olympus products? Didn't you negotiate brand equity and transitions from short-, mid-, to long-term? I also question the 25% premium customers will incur when selling their cameras for the new OM-1 II. Does the new price plus 25% justify the OM1 II  "improvements" and new label?

It reminds me of the iconic Olympus 12-40mm and 40-150mm f2.8 Pro lenses. It took one decision from OM-System to lose 20-30% of their resale value. Why not a simple strategy of adding a premium to the improved dust and splashproof ratings of any "new" OM-System lens?

I also smiled when I saw the new 150 to 600mm f5.6-6.3 lens. Social media experts couldn't wait to remind us the full-frame version of this Sigma lens is 45% less expensive. Why is the OM-System version more expensive? Did OM-System request a series of obstructions inside the OM-System version because M43 lenses deliver less light to the sensor than FF lenses?😏

Imagine the counter-marketing dollars that will be spent on this beauty...

Why don't FF promoters see the benefits? Because it's time to have a new conversation about sensor formats. Olympus photographers with the EM1 II/III, EM1X, and OM-1s get an equivalent reach of 1200mm at f6.3 and up to 8.5EV camera/lens stabilization. Compare this to FF cameras and the ISOs plus cropping in post-processing to capture wildlife and birds at 1200mm. Chances are they will have more image noise with less than 20MP after cropping to an equivalent M43 view...

Fuji is a strong competitor with a long history in photography...

What about the OM-System 9-18mm f4.0-5.6 MZuiko lens? It's good to inject new life into this lens. However, there must be a reason why it received so much social media criticism. Full-frame competitors seemed OK with a Micro Four Thirds offer for bird and wildlife photography. Loyal "size and capture" consumers seem happy to spend thousands on huge FF lenses. Was the risk higher if FF consumers compared the tiny 9-18mm M43 lens to its full-frame relatives? How does one recognize a fanboy or promoter? They ALL repeat phrases with "cropping" or "it's a Kit" lens...

Study the types of lens elements Olympus used for this absolute gem...

One of the risks OM-System created for themselves is focusing on BIF and wildlife photography. While the unique benefits of M43 lenses are undisputed, will the OM-1 II be as popular amongst influencers, events, street, travel, landscape, and portrait photographers? What if OM-System did the anticipated firmware update on the Olympus OM-1? Wouldn't that free the R&D team to design a new OM-System camera? These are valid concerns because traditional Olympus photographers increasingly purchase full-frame cameras. That simply means OM-System gave other brands a new opportunity...

Graduated ND filters and the new OM-1 II. Those working with gradients in Photoshop will appreciate my concern. Photographers do not want dark mountain tops, trees, buildings, or strange halos. This is why Adobe created better ways of separating critical objects from the sky. Why not GND filters or bracketing, advanced AI selections, and the final image in the OM-1 or Workspace?

Olympus EM1 III with 12-45mm f4.0 lens - ISO200, f6.3, 1/640. I applied my new Fuji Color Chrome effect to the Enhanced Raw File.

What should a real OM-System camera be like?

OM-System should assume a leading role and exit the sensor size and autofocus cycle. The new OMS camera should be like the Pen F, EP-7, and Fuji X100V with a new User Interface and a 20MP high-sensitivity BSI MOS sensor with the smallest M43 noise floor. The target segment should be street, family, travel, event, and hobby photographers. Focus on creative AI features versus AF AI. The new camera's AF system should be a clever derivative of the EM1 III (OM-5) AF system.

See this article for more about a new OM-System camera.

The focus should be creativity, flexibility, IQ, profiles, and a Workspace App for tablets and Mobiles. Study the unique needs of the target segment with new AI, computational, and creative features. You will be surprised to see which of my articles are most popular and by what margin...

Olympus EM1 II with 12-40mm f2.8 Pro lens - ISO200, f7.1, 1/800. My new Fuji Color and FX-Blue Chrome effect with the Enhanced Raw Format.

There is no reason why OM-System shouldn't excel...

Olympus EM-1 MKI with 60mm f2.8 macro lens - ISO100, f10, 1/50. My new Fuji Color Chrome effect with the Enhanced Raw Format.

Let's talk history and compare older OMDs to the OM-1 II.

Most of the features manufacturers rave about are unused statistics for most. For example, many don't care if the camera does 120fps with C-AF or videos in 6K 10-bit for more than 30 minutes. These features are designed for niche applications like Pro Photographers and Videographers working for corporate clients, and only promoters like reviewers track a bird's eye hiding in the trees.

I posted many examples in the past showcasing the high levels of unique and creative freedoms older OM-D and PEN cameras offer street, hobby, and travel photographers in 2024. Study examples like the EM10 II and EM1 MKI with the Enhanced Raw Format. That's not even mentioning the EM5 II or Pen-F. Just imagine the loyalty OM-System would enjoy if they celebrated the Olympus label.

With the correct pricing, which of the Professional cameras below matches your needs for 2024..?

Olympus OM-D E-M1 MK3

I never considered the MKIII being influenced to think it's a minor upgrade. I used my MKII for +4 years before reacting to a special on the MKIII. What a surprise when I learned just how different it was. It felt like Olympus guarded this BIG surprise until the improved features and IQ of the EM1 III.

I updated this OM-System slide for the Olympus EM1 III.

Olympus OM-1

The Olympus OM-1 was the final building block or R&D achievement of the Olympus Imaging Business. It reminds me of top designs like the EM5s, EM1, EM1 II/III, and Pen-F. It takes an effort to go back in time and remind myself how Canon and Nikon continued to sell DSLRs. Olympus assumed a winning role, became a trendsetter, and achieved fascinating mirrorless results in a DLSR world. 

It took large sums of counter-marketing dollars to smear these achievements.

OM-System used these slides during the launch of the Olympus OM-1 in 2023.

OM-System OM-1 MKII

Should one expect similar functional and IQ gains as the previous EM1 III? You won't find honest and factual information about the OM-1 II on social media. For example, I am so grateful that all my Oly lenses are "good copies."😏 According to social media experts, having 3 Olympus lenses without one flawed copy is nearly impossible. Guess what the first OM-1 II AF videos will be like? 

This is one of the best video presentations on the OM-1 II. It's in German but worth watching for our English-speaking friends because the presenter used OM-System slides. The OM-1 II improvements might be similar to the Olympus EM1 III in overall performance and Image Quality..?

This is the slide OM-System Ambassadors used for the OM-1 II launch.

Conclusion

One of the more troubling changes in the past years is dishonest marketing. This has become one of the most rewarding research activities for those seeking accurate info. How should one navigate this landscape? The best option is to question social media statements, learn more about the subject, and create personal references like testing products before buying them.

All the above slides are copies except for the EM1 III slide. I created it for this article. This OM-1 II presentation (12:15) from OMS showed 7EV IBIS for the OM-1. The original slide from 2023 shows 8EV. Here is the original 2023 OM-System video (3.54). The OM-1 specs confirmed 8EV...

Best Regards

Siegfried

The worst review of the Fuji X-H2 Hybrid Camera

Last update:- 24th March 2023

Introduction

Accuse me of overreacting at a difficult time for the DPReview staff, but I simply cannot support the technical views of DPReview. They announced their "In-Depth" review of the Fuji X-H2 hybrid camera. Ignoring the typical DPR irritations like "capturing less light" or "having more noise," I stopped reading the review at the part about Dynamic Range (DR).

I decided to focus on the highlighted phrases, even though it's possible to pull everything apart in the following example. The "size and capture" theory claims bigger sensors capture more light with less noise, more IQ, and more DR. ISO invariance is like the "size and capture" theory, designed to distract photographers from the fact that Pixels capture photons. The "read noise" Richard Butler is referring to is, per definition, the sensor's native noise floor with no shot noise present.

The paragraph on Dynamic Range

                                                                     Source: www.dpreview.com

The "size and capture" theory

                                                                                     Source: www.dpreview.com

Let's study what Fuji published about the new 40MP BSI sensor.

Please read the dedicated Fuji web pages for the X-H2 and the new 40MP BSI CMOS sensor. Nowhere does Fuji say the X-H2 has a Dual Gain sensor or almost no read noise. The challenge with more megapixels is the individual pixel areas decrease. This negatively impacts the sensor's sensitivity or ability to capture shadow details. More megapixels also means control wiring for each of the 14 million new pixels. Each electronic component adds more noise to the sensor's noise floor. Each digital photographer should be able to discuss what Fuji did to manage this challenge?

Fuji says the following about the new 40MP sensor:

• They have a new Enhanced Image-Processing algorithm + new Image Processor
• They managed to keep the "Signal to Noise" Ratio the same. (Same as the XT4?)
• An updated pixel structure (40MP sensor) improved the sensitivity of the pixels

The new Image-Processing Algorithm replaced some of the wired control functions. This means the total number of control circuits (components) in the X-H2 sensor is similar to the X-T4. Fuji also confirmed the SNR of the new 40MP sensor is the same as the Fuji X-T4. They designed a new 40MP sensor without the disadvantages associated with having more pixels.

The Photons to Electrons graph (below) should be identical for the 26MP and 40MP sensors.

Study this illustration for more on dynamic range and the sensor's noise floor.

The new standard ISO of 125 means the new pixel structure improved the 40MP sensor's optical and quantum efficiency (sensitivity). Every sensor's native ISO is set at max sensor saturation and the Average Efficiency Curve's highest point. This is why we have a lower DR at extended and higher ISOs. My X-T5 constantly surprises me with its ability to record excellent low-light details.

Conclusion

Study my article with 7 points explaining digital cameras. Each photographer should have this kind of knowledge. Digital photographers should be able to summarise any camera's characteristics from the information on manufacturers' websites and press releases.

I decided not to discuss the parts reviewing the X-H2's autofocus. If Butler felt it was important enough to say things like "Fuji is playing catch-up," give us examples. Dropping wild fact statements, like we saw with the OM-1, is NOT good enough. Reviewers, unfortunately, like to generalize and will apply the focusing requirements of one or two examples to all applications.

Here is a better example of discussing one application of the camera's autofocus.

Readers say we shouldn't criticize while Amazon is closing DPReview. Should we also ignore the "size and capture" theory and dumbing down of photographers? In a segment filled with half-truths and false information, Butler says "ISO Invariance" measures the flexibility of RAW files. He also says the X-H2 has almost no read noise. No explanations, mostly unsupported claims. What if image quality (tonal data) is a function of the exposure (SNR to ISO ratio) and the focus points we select? What if photographers determine the final Saturation and SNR of the sensor? What do YOU think?

Do you believe these unsupported claims by DPR...?

Fuji did a great job of presenting the theoretically correct info for its cameras. For example, dismiss reviewers discussing the Fuji X-H2 for high-speed (sports) or bird-in-flight (BIF) applications. Stacked BSI sensors are specifically designed for speed. The high readout speed of the X-H2S is perfect for these applications. Any photographer with a theoretical interest in digital cameras will find enough information from Fuji's website to make informed decisions. Did you know the OM-1 has a stacked sensor with a readout speed of 8ms and competes with some of the most expensive cameras?

Closing DPR could have marked the start of more accurate information.

See this informative video discussing the readout speed of different cameras.

Any comments...

Siegfried

The new Fuji 40MP BSI Sensor

Fuji X-T5 with 27mm f2.8 lens - ISO400, f5.6, 1/19000 - Out of the camera JPEG file.

This is one of my first images with the X-T5. You will see the DOF is not optimum at f5.6. I am used to selecting f5.6 for my Olympus cameras. I get good results with the correct focus points and apertures from f5.6 to f7.1. My Fuji X-T5 achieves similar results between f7.1 and f8.

What do I think of the X-T5 after 3 months? I really enjoy this camera. It's an excellent upgrade for the EM1 MKIII. Do I need an upgrade at this stage? It will work if I sell most of my Olympus gear and expand a little on the X-T5. I would keep my Pen F with 3 or 4 of my favorite compact lenses. If I consider the computational features of Olympus and the basic concept of, what is enough, I could also sell my Fuji gear and continue enjoying my EM1 III and the Pen F.

I am planning an article to discuss the X-T5 and my EM1 III...

Fuji X-T5 with 35mm f1_4 lens - Raw file edited with PhotoLab 6. High-quality option for Noise Reduction.

Spot the difference between 12 vs 100MP images

Last Update:- 25th April 2024

Introduction.

Watch this video from Chris Hau and his team comparing the Sony A7S III and the Fuji GFX100S. Chris asked if they could see the image quality differences between these 2 cameras? Before watching the video, list the points you will use to help you find any differences between these cameras.

Which one of the following two options do you trust more? The 1st option is theoretically analyzing the results from these two cameras, and the 2nd option is the oversimplified "size and capture," which is constantly abused to promote the virtues of higher resolution and full-frame cameras.

Why is this exercise meaningful?

Some will say it's only a fun video. While light-hearted videos have a role, the impressions they leave are enough to influence the buying behavior of many. The fun part is to study the images.

How did I identify the right camera for each photo?

- Pixels capture Photons

The Sony A7S III pixel area is 386% larger than the GFX100S. Both cameras use BSI sensors. The Sony should extract more shadow details because the larger pixel areas improve sensitivity.

- Depth of Field

Chris applied the same camera settings for both cameras. This means the Fuji has a smaller DOF with more background blur. It was difficult to see any differences because the subject versus background distances influenced the results. You need to review the images carefully to see any differences. 

- Image noise

Fuji has 8.5 times (102/12) more pixels with control circuits, whereas the A7S III has only 12MP. Each control circuit adds noise to the sensor's noise floor. It's normal to see high-resolution sensors with more visible noise. For example, a similar story is the Olympus Pen F versus the A7R IV. It needed more planning to manage the visible noise (SNR) from the Sony A7R IV than my Pen F.

Study this article for more on the different types of image noise...

Conclusion

How many photographers are tricked by undisclosed promoters voicing wild claims about the roles of sensor size and resolution? Instead of studying the functional benefits of various cameras, we see those who never prepared articles or theoretical papers repeating the wildest statements...

The answer is to focus on shadow details, DOF (background blur), and shadow noise. You won't find any optical and technical "size and capture" trademarks like a full-frame look, noise-free image, better image quality, "less" lens diffraction, subject isolation, dynamic range, bokeh, or the GFX100S captures more light. Chris said he edited the photos but gave only a few details.

Here is a summary of what I found:

- First round - B is Fuji. (DOF and shadow noise)

- Second round - A is Fuji. (DOF and shadow noise)

- Third round - A is Fuji. (Mainly DOF with some loss of detail under the balconies)

- Fourth round - The left one is Fuji (Mainly DOF - study the background carefully)

- Fifth round - The right one is Fuji. (We need to see the focal point? A very tight DOF)

It was difficult to spot shadow detail differences. The tight DOF and the image editing made it difficult to analyze these images. It would be nice to see an example like the one below for each camera. See this example of editing deep shadows with an Enhanced Raw File and Workspace.

See this article analyzing the shadow details of 15 cameras.

Any thoughts

Siegfried

An example of the Sony A7R IV at ISO3200. The sensor was not fully saturated.

Additional opinions:-

- See the video from Jimmy (RED35). Is 20MP enough?

- See the 2 parts response from Joseph Ellis to the above video.

- SLR Lounge with a 90-second overview of Megapixels

- See this video from Duade Paton for an engaging overview

Wildlife Photography with Micro Four Thirds

Last updated:- 1st August 2023

I like the Pangolin Wildlife channel and watched several of their YouTube videos. I enjoy their photos, discussions, and the techniques they share on wildlife photography. They recently uploaded an interesting video about Micro Four Thirds and wildlife photography.

Olympus E3 with the 28mm f2.8 lens - ISO160, f2.8, 1/100 - Low light Raw file edited with PL-5 and DeepPrime NR.

The example about noise at ISO20K made me wonder how much "low light" is available at nearly 7 Stops of ISO amplification. How much of the wildlife photographer's daytime is spent in these conditions? It's also clear the Pangolin photographers support the "size and capture" theory. Will their videos benefit from a more theoretical understanding of the digital camera? For example, the ISO to SNR ratio is enough to explain the scenarios in the two videos we are reviewing.

Janine talks about noise in this video and ways to improve image quality. Except for the part saying the "ISO function adjusts the sensor's sensitivity," the remaining content is excellent. The size and capture theory is like assigning an invisible handicap to M43 photographers.

Study the additional information below:-

- This is a more recent article discussing a visit to a South African game reserve.

- See this article about background blur (information) and the examples in this video.

- See this video for more about the best camera settings for wildlife photography.

- For more about Readout Speed or warping & wobbling, watch this video

- Study this article for more on image noise and ISO amplification.

"Olympus wildlife photographers are cheating..."

I enjoyed Janine's feedback on how full-frame photographers reacted to Pro-Capture. I disagree with the 1st disadvantage listed in the video or the "size and capture" theory. Noise is NOT a function of sensor size because EACH sensor has a noise floor. The characteristics of the noise floor are linked to the sensor's design. I also think the classic "portrait" look with blurred backgrounds works only in some cases for wildlife photography. The challenge for wildlife photographers is to display the natural habitat of wild animals without overpowering the subject.

My focus is the seasoned Pangolin photographers and the experience they share. How do we combine this experience with a theoretical explanation of the digital or Micro Four Third camera?

My family and I left South Africa 20 years ago. We will always be a part of Africa. A typical bushveld scene with my E3.

How does a theoretical explanation help photographers?

Each photographer should start with these 6 points:-

• All lenses have diffraction, and it's not something photographers should fear
• Sensors are linear devices, and they record less tonal data at lower SNRs
• Saturated image sensors benefit from higher SNRs with less image noise
• Your aperture and shutter speed control the reflected light to the sensor 
• The ISO function amplifies the image signal and the sensor's noise floor
• Pixels capture photons and not the size of the backplate they are placed on

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO160, f3.5, 1/3200 - Raw file edited with PhotoLab 5

We know M43 photographers benefit from a 2EV DOF advantage and the size and weight of M43 lenses. The summary below was designed for M43 wildlife photographers:-

• M43 photographers can safely use apertures between f5,6 and f8,0 (and higher)
• It's OK to target shutter speeds between 1/400 and 1/4000 (landscape to action)
• Always check your default exposure settings. (start at: ISO400-1600, f6.3, 1/2000) 
• Learn to use Shutter Priority, fixed ISO values, exposure comp, and the histogram.
• Understand the benefits of saturating the sensor or managing the SNR-to-ISO ratio.
• In most cases, M43 cameras don't need more than ISO3200. Also, use AI NR (WS)
• Why only IS=3200? Consider the advantage of having IBIS with suitable scenes.
• Planning and selecting the best time of the day is critical for wildlife photography.
• They always keep a sturdy tripod with them. IBIS does not stabilize your subject

Olympus E3 with the 50 - 200mm f2,8 - f4 Pro lens - ISO160, 1/2000, f4.0.

The above scene shows the natural habitat of wild animals. They are experts at hiding and becoming one with nature. One seldom sees them in open spaces in the bushveld or Kruger National Park. Wild animals will only go into open spaces when they drink water. I prefer the bushveld environments over the danger associated with open areas. That's why portraits with blurred backgrounds do not apply to wild animals in their natural habitat. I prefer the above image image look because it's natural. 

Andrew Goodall is one of my favorite wildlife photographers. See this video of his 2023 photo summary with many examples of excellent wildlife photos. Also, make a note of his camera settings.

Most wildlife photography is done in medium to good daylight conditions. Waterholes are popular locations. Talk to your local ranger about the photography spots you like to see. List the animals you want to photograph and when the animals drink. Master working with light and having the sun behind you. Always ask for information about sunrise and sunset safari drives and other opportunities. Another exciting destination for wildlife photography is the Etosha National Park in Namibia.

Olympus E3 with 50-200mm f2.8 - 3.5 lens - ISO160, 1/4000, f3.5 (Exposure compensation = -0.7)

Which M43 camera do you need for Wildlife Photography?

The best Mirco Four Thirds camera for wildlife photography is the one you have with you. I purposely posted these images from my older Olympus (10MP) E3. We don't need forum-approved cameras, the newest cameras, or those with the highest review ratings for wildlife photography. 

The Olympus E3 had no Subject Recognition or Eye Detection. Olympus did say the E3 had the fastest autofocus in 2009. While I enjoy technology and autofocus algorithms, wildlife photographers should know these technologies do not need to become deal breakers.

Olympus E3 with 50-200mm f2.8 - f3.5 lens - ISO160, 1/2000, f3.5, FL200mm - Raw file dited with PhotoLab 5 and PS 

Conclusion

Olympus has an excellent range of professional equipment. Pro lenses are designed for the highest levels of image quality, fast apertures, and the ability to extract fine details. These extreme levels of performance are only necessary in demanding conditions. Plan your photo sessions... 

Beginners and hobby photographers can expect excellent image quality from Standard and Premium Zuiko lenses. These are generally slower lenses, which is OK for wildlife photography. I decided to focus on three affordable solutions for those interested in wildlife photography.

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO160, f2.8, 1/640 - Handheld and Raw file edited with PL5

I prefer to use Olympus lenses with Olympus cameras and Panasonic lenses with Panasonic. These two manufacturers use vastly different autofocus systems. You will get the highest levels of compatibility when combining Olympus lenses with Olympus cameras. I have some lenses from Panasonic, like the Leica 25mm f1.4 and the Lumix 35 - 100mm f2.8...

Did you see the unique "bokeh" type backgrounds from the original Olympus Pro 50-200mm lens? There's something special about the original version of this lens. The newer version has a smoother background blur. I used both and like the older version for its character. While the M.Zuiko 12-200mm backgrounds are more refined, its "character" resembles that of the older 50-200mm lens.

Olympus E3 with 50-200mm f2_8 - 3_5 lens - ISO160, f3.5, 1/500 - Edited with PhotoLab 5.

Let's start with a few M.Zuiko Digital Lenses:-

• 40 - 150mm f4 - f5.6 (This is a good lens and perfect for smaller game parks)
• 14 - 150mm f4 - f5.6 (This multi-purpose lens works for smaller game parks.)
• 12 - 200mm f3.5 - f6.3 (An excellent lens and perfect for Kruger National Park)
• 75 - 300mm f5.6 - f6.7 (It's a good lens for large parks like Etosha National Park)
• 100 - 400mm f5 - f6.3 (I never used this lens. It should work for large game parks)

These are more cost-effective lenses for the beginner and the semi-advanced photographer. They offer excellent image quality with cameras like the EM10 II/III, EM5 II/III, and EM1 I/II/III.

Smaller Bush Lodges have several opportunities for casual bird and wildlife photographers. South Africa has many of these smaller reserves with short hiking routes. These parks do not have the Big Five and are perfect for those enjoying nature, birding, and wildlife photography.

Olympus E3 with 50 - 200mm f2.8 to f3.5 lens - ISO160, f3.5, 1/500 - Raw file edited in PhotLab 5

Which secondhand Olympus cameras are best for wildlife photography?

• The EM1 II is a great wildlife camera. They are affordable and offer many Pro features.
• The EM1 III is a more advanced camera. They are also more expensive secondhand.
• The EM5 II, the EM5 III, and the EM10 II-IV are affordable and excellent cameras.
• I recently bought a used EM1 MKI and am blown away by this excellent camera.

Here are my 3 proposals with one bonus camera:

1. EM1 II with the 100-400mm f5-f6.3 lens (Also consider the 75-300mm or 12-200mm)
2. EM5 III with the 75-300mm or the 12-200mm lens
3. The EM5 II with the 14-150mm f4-f5.6 II lens
4. The Pen F or the E-P7 with the 18mm f1.8 and the 14-150mm f4-5.6 II lens

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO 160, f3.5, 1/2000 - Raw file edited in PL5

Also, consider the Olympus 40-150mm f2.8 Pro lens with the 1.4X and 2X converters. This will give you more "Pro" flexibility plus a maximum full-frame reach of 600mm at f5.6.

Wildlife, bird, and landscape photography are great fun. Take the time to walk and practice with your new zoom lens before booking a trip to a game park. Finally, nothing beats the love for nature, enthusiasm, patience, and practice with Olympus cameras.

It was fun to edit these RAW files from my Olympus E3. It's easy to react and say, a great camera as I go through my images from 2010. I sold my E3 while being happy with its performance and image quality. I can only imagine what the RAW files would be like if I knew about the ISO-to-SNR ratio. I wish every photographer gets the chance to master these basics...

Take care and God's Bless

Siegfried

Olympus E3 with 25mm f2.8 lens - ISO160, f3.5, 1/320 - Raw file edited with PhotoLab 5 and DeepPrime NR

Say NO to Marketers and enjoy your M43 camera

 Last Updated:- 29th July 2022

Two cameras might have different-looking jpegs while producing the same image quality. These same cameras will deliver completely different results when presented by YouTubers, reviewers, and forum experts. Are social media personalities dishonest or simply sponsored and paid promoters?

The X-T4 pixel area is 25% larger than the EM1 III, and the Sony A1 has a 22% advantage over the X-T4. Considering pixel area, could one expect 25% or 22% more IQ from the X-T4 or the Sony A1? Fuji and OM-System said that the sensor sensitivity and noise floor of APC, Live MOS, and Full-Frame sensors are very similar in modern cameras. I tested 15 cameras and came to a similar conclusion.

The Olympus OM-1

Old-style product marketing - this is what one can expect from the Olympus OM-1.

As high as 99% of global crisis events over the past 5 years could have been prevented if countries had a truly independent news media. It's easy to question the mainstream media's (television and press) role in the high levels of ignorance about modern counter-marketing techniques? Most people choose to ignore what is happening on television and social media. For example, marketing programs like astroturfing or short statements like "This one has better autofocus" or "That one has better image quality" determine the success of new cameras.

I was surprised at how little time it took counter-marketers to target the OM-1 with new counter-marketing "fact" statements like the "the autofocus and tracking of the OM-1 are not reliable" or "OMD-System is dishonest and can't be trusted". Like the mainstream media, marketers use a network of "trusted experts" to repeat, validate, and cement strategic "fact statements" into the minds of trusting consumers. One of the trademarks of modern counter-marketing is accuracy is not critical because the combination of ignorance and repetition is enough to let consumers accept almost anything.

The same thing happened to the Fuji XT-5. For example, what are the 3 main problem areas of the XT-5, and how were they "programmed" into the minds of consumers and forum "experts?"

Olympus EP-7 with the 17mm f1.8 lens - ISO200, f5.0, 1/2000 - Enhanced Raw File converted in WS.

Photographers are facing 2 critical issues today. One is the commercial "size and capture" strategy to sell more FF cameras, and the other is a counter-marketing program. They are linked and explain why one should know more about the technical aspects of digital cameras and marketing.

The difference between old-school and modern marketing is huge. Old-school marketing was regulated, and modern marketers have ways to sidestep these regulations. Repetition is critical for cementing trigger words or moving people to trust "expert" opinions. For example, count the times you see typical "size and capture" statements on forums, YouTube videos, and camera reviews.

Olympus EM1 III and 12-200mm lens - ISO800, f7.1, 1/800 - No ETTR - Enhanced Raw converted in WS with PC-RAW.

My wife and I recently returned from a visit to South Africa. I will review 2 of the images I took in South Africa to show the effect of counter-marketing and social media. We will also see why photographers benefit when turning away from promoters dressed up as reviewers or a small group of social media experts who stage up to 80% of all forum "product complaints/problems" or "this camera is not good enough" discussions on social media.

We will review 3 aspects of modern marketing:-

1. The process of creating fact statements or phrases and why repetition is key
2. Promoting "higher value" products while canceling others in product reviews
3. Active promotions/counter-marketing, ie social media, forums, and YouTube

Olympus EM5 II with 12-200mm - ISO200, f7.1, 1/500 - Enhanced Raw file converted with WS.  (MacBook Pro M1)

Each topic has two parts. The 1st part consists of modern marketing phrases and actions, and the 2nd is the correct information about the camera, Workspace, or technique.

1. We are reviewing the following topics in this article

1. I will review the ISO, ETTR, and DR of two photos from South Africa.
1. Image 1 - Is misinformation the reason for poor camera performance?
2. Are repetition and fact statements the reason for social media posts?
3. Do marketers have a unique technical support service for promoters?
4. Image 2 - A better way of photographing with ANY Digital Camera
5. Dishonesty and why FF sensors offered more image quality initially?
6. It's clear that speculation only causes bad habits and confusion..?
7. Do you think it is acceptable for reviewers to insult manufacturers?
2. How do we control shadow noise with the "AUTO" Gradation function?
3. Older PCs, newer versions of Workspace V2, and editing in PC-RAW Mode
4. ETTR is all about saturating the sensor and improving shadow details.
5. My experience with Auto Focus and cameras like the Olympus EM1 III
6. Why would I hesitate to get a secondhand OM-1 when having a chance..? 
7. Why do we see shadow noise with the Olympus EM1 III and the Sony A1?

PS - The images in this article are best viewed on a large display - see the descriptions below each image.

Olympus EM1 III with 12-200mm lens - ISO800, f6.3, 1/1600 - No ETTR - Enhanced Raw file converted in WS with PC-RAW.

1. South Africa, two images, ISO, ETTR, DR, and Marketing

1.1 Image 1 - Is misinformation the reason for having image noise?

The challenge with this image was the midday sun, highlights, and shadows. Shadow noise is typical in these conditions because M43 photographers do not know their cameras or over-compensate for the M43 camera's "low dynamic range" problem. For example, M43 photographers will underexpose to "protect" the highlights. The alternative is to select a better time of the day, use polarizer or ND filters, a fill-in flash, ETTR, reflectors, or simply let the camera's DR do its thing...

This is an excellent example of embracing ignorance or ignoring expert opinions. Counter-marketers trick M43 photographers into focusing on the DR problem they created.

Image 1 - EM1 III - OOC jpeg (insert), ISO200, f5.6, 1/200, -0.7EV - See the shadow noise (raw file right) - I upped the brightness in PS.

What is a typical solution for the above image? Try a Polarizer filter and ETTR. Polarizer filters control the bright areas or reflective surfaces, and ETTR helps us to improve the sensor's Saturation and SNR, the recorded tonal data, and visible image noise. See this example.

1.2 Are repetition or fact statements the reason for having social media posts?

This example is one of many discussions promoting the so-called ISO limitations of M43 cameras. Sadly, we see how many M43 photographers adjust their photography skills to accommodate these forum-created "weaknesses" while others know it's all about exposing the sensor correctly. In fact, these "grassroots" discussions look more like an excuse to repeat "fact statements."

Looking at the date of this particular forum discussion, we see it took place weeks after the EM1 III was launched or during the then active counter-marketing campaign on the EM1 III. You will recall these exact same counter-marketing campaigns when the E-M1X and the Pen F were launched?

Olympus EM1 III with 12-45mm f4 - ISO200, f5.6, 1/800 - Enhanced Raw File converted in Workspace.

1.3 Do marketers have a unique technical support service for promoters?

Promoters use ISO and DR illustrations (graphs) to support their lines (fact statements). These services look like counter-marketing tech support experts (Photons to Photos).

To name a few, here are my main concerns with these expert services:-

• They fail to show how pixel area (sensor size) is only one sub-category of Optical Efficiency
• They accept ISO Invariance, which suggests noise-free sensors. Think of superconductors
• They criticize any DXO data that do not support or promote the "size and capture" theory
• Chart data comes from user images & calc. It's speculative, with NO manufacturer support
• The information is NOT informative but presented in support of the "size & capture" theory

You will also find good information on the Photons to Photo website. The challenge is the complex nature of modern marketing and your own state of mind. Did you buy into the size and capture theory, or are you in the process of improving your own technical awareness and camera skills..?

Olympus EM1 III with 12-200mm lens (Awesome lens) - No ETTR - ISO100, f6.3, 1/250 - Enhanced RAW converted in PC-RAW.

1.4 Image 2 - A better way of photographing with ANY digital camera:-

Is it possible to "manage" shadow noise with the camera's available DR. For example, one could up the exposure (ETTR) to increase the camera's dynamic range and the sensor's SNR in the shadows. That means using the sensor's Dynamic Range to increase its saturation in the shadows. The more we learn, the better control we have over the ISO (image brightness) and visible noise.

How do we correct our ETTR adjustments? By applying a "negative" ETTR in Workspace. This will rebalance the exposure to 18% gray. Is it OK to use the Brightness slider in WS? No, the Brightness slider does not apply a balanced adjustment on the RGB colors. Use Exposure Compensation or Curves (both Workspace options) to correct the brightness of your image.

Take care when upping the sensor's exposure level (shutter/aperture). For example, determine which parts of the image are more critical and select your expose accordingly. As you know, it's possible to double the reflected light to the sensor with each exposure increase of 1-stop (1EV).

One can also use the camera's Shift Exposure function to have a default ETTR value. We have enough Dynamic Range headroom to correct an Exposure Shift of 2/6 (1/3EV). This means monitoring the histogram more regularly and doing any corrections in WS. I use this option in ESP mode.

For more on managing or saturating the image sensor, see this article.

Image 2 - Olympus EM1 III OOC jpeg, ISO200 (fixed), f5.6, 1/160 with +1EV (ETTR).

Olympus EM1 III w 12-45mm f4, ISO200 (fixed), f5.6, 1/160 - Converted in PCRAW with Auto Gradation - Noise-free shadow details.

1.5 Dishonesty about why Full-Frame sensors have more IQ

Marketers will say almost anything to push their strategy. For example, they will redefine science (size and capture theory) to support a campaign. This is one of the main reasons for getting poor information. Another is repetition and the high level of "digital" ignorance among digital photographers.

When you see commentary claiming the OM-1 Stacked BSI Sensor does nothing to improve the OM-1's image quality, question everything that person claims. For example, DPReview uses random statements like Sony's A7R II BSI sensor is better than Standard CMOS sensors, or the BSI sensor did nothing to improve other camera models. The "size and capture" theory is more important.

PS. See this article for a detailed but basic explanation of why BSI sensors improve IQ...

Olympus E-P7 with 17mm f1.8 lens - ISO200, f1.8, 1/1000 - Enhanced Raw converted in WS - Color Creator 8:2 (An airport window).

The above video explained why older FF sensors were better. Older DSLR cameras use Standard CMOS sensors. The pixel control wiring of Standard CMOS sensors obstructs the image signal more than Live MOS or BSI sensors (Optical Efficiency). Older FF sensors had large pixel areas (12MP). This changed with more pixels and efficient sensor types like the Live MOS or newer BSI sensors.

The reason Fuji and OMDS claimed their Stacked BSI Sensors compete with FF sensors is more Optical and Quantum efficiency. The pixel area benefit of older FF sensors disappears with more megapixels. For example, if you compare the A7 IV, the X-T4, and the OM-1, then you will find the A7 IV's benefit is less than 1EV. The reason is sensor size (pixel area) is only one of MANY variables impacting the Optical Efficiency. It takes more than SIZE to design GREAT image sensors...

See this article article about ETTR. 

Olympus EM1 III with 17mm f1.2 lens - ISO200, f2.2, 1/80 - Raw file edited in Photoshop.

1.6 Does speculation cause bad habits and confusion?

There are many examples of bad marketing, misinformation, and the confusion it causes amongst M43 photographers. The OM-1 launch can fill pages of case studies on counter-marketing.

I was searching for info on the Panasonic LX100 II. Going through the review at DPReview.com, I saw the paragraph below. Do people really trust these "size and capture" repetitions? Mine is bigger than yours and that's why... They even applied the size and capture theory to the cropped section of the LX100 II sensor in video mode. Folks, the pixel areas stayed 100% the same in the crop section, the sensor's sensitivity did NOT change, and the noise floor was the same. No wonder the LX100 II is not having the success it should have. I own an LX100 II, and it's simply a great camera...

                                                                                                                                     Source: DPReview.com

Sadly, the level of speculation we see from "expert" reviewers is madness. I love to see Panasonic's mail saying, "Mr. expert reviewer, we did use the GX9 sensor in the LX100 II." Imagine the level of misinformation spreading from only one review. Study the example below...

I see so many inaccuracies in the following forum post that it's hard to ignore. It's clear the premise for all the sensor data is speculation. In fact, almost everything this poster claims is speculating about data NOT coming from the manufacturer. No manufacturer gives details about their sensors. 

                                                                      Source: DPReview.com

For example, OM-System quoted a standard Dynamic Range increase of 2EV when they launched the new BSI sensor. The forum poster's dispute is based on speculative sensor data, an ISO test from DPR, and counter-marketing keywords. Judging by the feedback from OM-1 photographers, it's clear that the noise floor is smaller in the new BSI sensor. Like other BSI sensors, the temporal noise also decreased. A more sensitive sensor with a smaller noise floor means more Dynamic Range.

Since the OM-1 launch, there has been a flood of misinformation about image sensors. We especially see this with the different types of sensors in digital cameras. This is an example of a controlled forum discussion to confuse M43 readers about the new 40MP Fuji sensor. Many photography websites are spreading this misinformation. The question is, is the OM-1 pixel area smaller than the 40MP sensor of the XT-5. The pixel areas in these 2 cameras are:-

• Fuji X-T5 (40MP) is 9.17µm2
• Olympus OM-1 (20MP) is 11.3µm2

What is more effective in programming people's opinions, subliminal advertising, undisclosed promotions, or repetition? The more one learns about modern marketing, the more one realizes repetition is used to make people believe things they would never do in the past. I prefer old-style marketing...

1.7 Is it acceptable for reviewers to insult manufacturers?

See how this "grassroots" discussion questions the honesty and integrity of OM-System. We saw this sad behavior with the first ISO test from DPReview and again with the OM-1 review. Sadly, it looks like a deliberate strategy to discredit OM-System and question the OM-1 specification. This has been an ongoing strategy (theme) from this current OM-1 counter-marketing campaign.

Also, see this OM-System presentation about the new OM-1 sensor - link.

EM1 III w 17mm f1.2 - ISO200, f4.0, 1/250 - No ETTR - Converted in WS with PCRAW - What role does the lens have with shadow details?

2. Olympus Auto Gradation and controlling Shadow Noise

Only some M43 photographers know how much the Olympus Gradation function improved and why we get better shadow information with a more saturated sensor. The reason is AUTO Gradation is similar to a flat profile protecting the highlights and shadows. It's possible to manage shadow noise with the sensor's saturation level. This is similar to what Panasonic does with the GH6...

M43 photographers would have known all this if camera reviewers were honest and if they had discussed the updated features on newer cameras. Instead, they opted to discredit OM-System because they did the right thing to quote the standard BSI +2EV noise and +1EV DR improvements.

Olympus EM1 III with lots of detail from the 12-200mm lens - ISO100, f5.6, 1/500 - No ETTR - Converted in WS with PCRAW.

3. The new Workspace (V2) and PC-RAW mode

Marketers are working hard to discredit the most recent versions of Workspace, the OM-1, and the new AI noise option. I reported that Workspace V2 is slower than previous versions. The exciting part is the PC-RAW mode is quick on older PCs. For example, the EM1 III Truepix IX Processor is a joy to edit my Enhanced RAW Files in PC-RAW mode.

Tip:- Keep your EM1 II when you upgrade to the MKIII or the OM-1. It's impossible to edit EM1 II raw files in PCRAW mode with the MKIII or the OM-1...

Olympus E-P7 with 17mm f1.8 lens - ISO250, f6.3, 1/60 - Enhanced Raw file converted in WS plus 1020 color profile.

4. ETTR is all about saturating the sensor in the shadows

It's sad to see how the general skill level dwindled to the point that many photographers never had the opportunity to experience the benefits of ETTR. See this discussion and the questions photographers ask. To further complicate things, we learn that promoters use irrelevant information to confuse photographers about the benefits of having more reflected light reaching the sensor (ETTR).

How to apply ETTR in terms of the ISO, shutter speed, and aperture

For example, they will distract photographers by saying the ISO amplifier is placed on the sensor. My reaction is always the same, how can we use this to improve our photography? 

They will also say things like the DR are smaller at higher ISOs or ETTR only works at the base ISO. Like so many arguments they have, it's a misrepresentation of ETTR. It is possible to increase the SNR and saturation of image sensors at higher ISOs, and the reason we for ETTR!!

EM1 III with 17mm f1.2 Pro lens - ISO200, f4, 1/250, -0.7EV Exp. Com. - Raw edited in WS, Color Creator (1:0), 16-bit Tiff prepped in PS.

The most basic information you should have about the ISO function is that it amplifies the image signal from the sensor. This means amplifying both good (high SNR data) and poor (low SNR) image data. The quality of the recorded image data is NOT determined by the size of the sensor BUT by the sensitivity and how well we saturate or expose the image sensor. In other words, it's all about the type of CMOS sensor used in the camera and the reflected light reaching the sensor.

See this exciting example I posted a while back...

Did some photographers incorrectly apply ETTR? Yes, it happens when one uses the ISO to "Expose To The Right" (ETTR) or when promoters use the ISO to "prove" that ETTR has no benefits. Why is this so important to promoters? Marketers reject any alternatives to the "size and capture" theory.

Olympus EP-7 with 17mm f1.8 lens - ISO200, f1.8, 1/50 - Enhanced Raw file edited in WS, Color Creator (2:1).

Why does the ISO shift the histogram to the right, and how do we monitor sensor saturation? ISO is a variable in the formula calculating exposure, and exposure is linked to the histogram. Yes, it is possible to use the histogram to monitor the sensor's saturation or exposure level. 

The solution is to use your ISO manually in challenging situations. Adjust and fix the ISO for more difficult photos and use the Shutter Speed and Aperture to control the Reflected Light. This will change the ISO from a variable (auto ISO) to a constant number and the histogram to a function of reflected light or the saturation level of the sensor. This is not an absolute, but it is possible to more accurately determine challenging exposures.

Don't let promoters discourage you when claiming the Olympus histogram is linked to JPEG data. They really want you to think the Live View histogram shows jpeg info. Consider this, they are talking about data that's not captured, processed, or saved on the camera's SD card.

EM1 III with 17mm f1.2 lens - ISO200, f4, 1/125 - Edited in WS, AUTO Gradation, Color Creator (3:1), 16-bit Tiff prepped in PS.

It's all about reflected light and exposing the sensor. This also supports the theory about managing the performance of the image sensor. Size and capture theorists agree it's about light but then ignore the fact that pixels capture photons and NOT the size of the baseplate housing the pixels. Why do they always pivot to the size of the sensor? Think about what happens when you have more pixels...

Olympus EM1 III with Lumix 35-100mm f2.8 lens - ISO200, f7.1, 1/1600 - No ETTR - Enhanced Raw edited in WS.

5. My experience with Auto Focus and the Olympus EM1 III

I knew I would face various Auto-Focussing challenges like wildlife, a wedding, portrait, sports, camping, birding, video, and commercial photography while in South Africa. I prepared myself as well as I could before leaving. I studied the user's manual, watched YouTube videos, and experimented with the Auto Focus options of the EM1 III.

Sony A1 with 70-200mm f2.8 lens - ISO200, f2.8, 1/2000 - Raw file edited with Photoshop 2022.

I was a little anxious before arriving in South Africa, especially after seeing some of the reviews and forum comments complaining about the tracking ability of Olympus cameras and the OM-1 randomly losing autofocus. Would this be a problem for the EM1 III? Except for my mistakes, the long and the short of my Autofocus experience with the EM1 III is a clean sheet of paper. 

The one aspect I regret is not trying the AF shift function. I do need to practice with some of the more advanced AF features of Olympus. Apart from that, I never had to adjust my EM1 III AF parameters, and I couldn't find ANY problem "images" from my nearly 300GB captured image data.

Good performance of the EM1 III Auto Focus in ProCapture H with the 12-200mm lens - Noise w no ETTR.

The EM1 III Auto Focus is so effective that it enabled me to ignore that part of my photography. It might be necessary to tweak my Auto-focus settings in extreme cases.

Do reviewers only discuss extreme cases?

In summary, instead of "focussing" on the AF problems promoters discuss on social media or changing my autofocus settings, I plan to use my EM1 III more effectively. 

Olympus EM1 III with the 12-200mm lens - ISO200, f6.3, 1/100 - No ETTR - Enhanced Raw file edited in WS in PCRAW mode

6. Why say NO to a secondhand OM-1 when having a chance?

Why would anyone say no to a new OM-1? The answer is the OM-1 is too expensive secondhand, plus I am happy with my EM1 III. We also know the differences in IQ between the newer cameras are smaller because the underlying CMOS structure has reached its maximum efficiency capacity.

It can also mean I am enjoying excellent results with my EM1 III. I bought my EM1 III in Dec 2021 after using my MKII for 4 years. From my experience, the EM1 III is a significant upgrade, and I am more than happy to keep it until the secondhand OM-1 prices are more reasonable.

The role of the camera's image processor should be discussed more. The focus is so much on the "same sensor" and the 20MP of the EM1 III that photographers automatically assume the EM1 II is the same. What if the new Truepic IX processor has more detailed image processing and power? We should focus on image processing, functionality, speed, and the capacity of the new TruePic IX.

Folks, I cannot repeat this enough, we cannot trust camera reviews or forum experts!! Deception is NEVER a bad experience when it comes from a trusted or friendly promoter...

Sony A1 with 70-200mm f2.8 G-Lens - ISO160, f2.8, 1/200 - No ETTR - Exposure set for shadows, I couldn't pull back all the highs.

I think it's possible to equalize the Image Quality differences between cameras when you master the fundamentals of sensor efficiency. What is the main benefit of using a FF sensor? Depending on the sensor's age, they have a little better Optical Efficiency. We can get similar results when managing the reflected light to the image sensor. Marketers want you to believe the only way to improve sensor efficiency is when buying FF cameras.

6.1 Why do the EM1 III and the Sony A1 both have shadow noise?

I studied most of the Sony A1 images from South Africa, and apart from any resolution differences, most of the IQ differences came down to user mistakes. In fact, the shadow noise from both the EM1 III and the A1 is quite pleasing because they seem to have a lower temporal noise level. 

All image sensors have a native noise floor. This is why all cameras have shadow noise. The "size" of this noise floor is influenced by the sensor's design and NOT the size of the sensor. We can control the visibility of the noise floor by how well we expose the sensor (SNR). Most of my articles are about "managing" the efficiency (saturation and SNR) of the sensor. This is one piece of information that promoters refuse to discuss.

Sony A1 with 24mm f1.4 G lens - ISO1000, f1.4, 1/125 - The raw file was prepared in PS (See the shadow noise in the insert).

We used the Sony time-lapse function to record our family pictures. It was fun and we had lots of natural-looking images from the A1, a tripod, and one-second intervals. Unfortunately, the A1 depth of field was a little tight at f1.4, plus the A1 pictures had more than expected shadow noise.

The challenge was to load the A1 images in the memory of my PC to sort 600 plus raw files at 58MB per image. The question is, would my 20MP Olympus EM1 III with the 17mm f1.2 lens be the better choice with its wider DOF and apertures? For example, I could up my sensor saturation with a full stop by using f1.2, ISO1250, and 1/100th shutter speed. A flash would also do wonders...

My intention with the above example was not to discredit the Sony A1 but to demonstrate that image noise is NOT simply a function of sensor size. Image Noise is directly linked to the type of sensor, the saturation level, and the SNR of the sensor. Each photographer would know this if marketers were honest and not pushing fake "size and capture" theories to sell more full-frame cameras... 

Sony A1 w 70-200mm f2.8 - ISO600, f2.8, 1/320 - Raw edited in PS - Insert is the original with visible noise in the "unsaturated" shadows.

I am not ignoring any visual or optical differences between sensor formats. They are all important and something photographers should study and evaluate when looking for a new camera. But to make photographers think a bigger sensor will improve IQ is dishonest...

Keep in mind the main IQ benefits from any higher sensitivity sensor like the BSI sensor in the X-T4, the OM-1, or the A1 are lower shadow noise, less temporal noise, more shadow details, and higher DR. It's possible to get similar results with something like the EM1 III using ETTR (more reflected light on the sensor). Most of the computational features in Olympus cameras also control image noise. Also, remember that the Olympus Live MOS sensor is already more sensitive than most of the standard CMOS (APC Canon) sensors and in many cases full-frame standard CMOS sensors.

Sony A1 with 70-200mm f2.8 lens - ISO320, f2.8, 1/500 - Raw file edited with Photoshop 2022.

Conclusion

It is possible to radically improve your digital camera knowledge if you let yourself see through the "grassroots" forum discussions or promoters dressed up as camera reviewers. 

It is also critical to know that not everyone complaining is a promoter. Promoters are often small groups of well-trained social media experts. As with any brand loyalty, it's nothing strange to have more vocal supporters of any product, brand, or specific initiative...

Great ProCapture action opportunities with the EM1 III and the 12-200mm - No ETTR - Edited w WS in PC-RAW mode. The EM1 III's Auto Focus is good...

Most important in this article is the clear difference between theory and modern marketing. One can be explained and the other is all talk. Each aspect of shadow noise, sensor saturation, and SNR can be explained. On the other hand, those who talk and talk "size and capture" theories have nothing other than modern marketing, fact statements, graphs, and repetition...

Some say I should review different photography sites and not only DPR. The challenge is the available time readers have to study these articles plus DPR is the leader in this space. The examples in this article apply to all photography websites. The "size and capture" theory is a great example of which websites are repeating "size and capture" fact statements...

Olympus EM1 III with the 12-200mm lens - ISO100, f6.3, 1/250 - No ETTR - Enhanced Raw edited with WS in PC_RAW Mode.

If this is the first time you have seen something like this discussion on photography, counter-marketing, or saturating the image sensor, then I like to invite you to follow my journey. One of the biggest negatives of modern counter-marketing is the programming effect it has on people. 

It makes any transformation back to normal a timeous experience from arguing the virtues of sensor size to managing the performance of your image sensor. My advice is to always be open-minded and question the obvious a little more...

Take care & God's Bless 

Siegfried

PS. The DPReview ISO test has NO transparency or built-in mechanism to prevent incorrect results. For example, using a piece of white paper for your ISO tests is meaningless and it only opens the door to dishonesty. We really want to see how the sensor performs in the shadows. Why the shadows? A better way is to study everyday images (with Exif data) and to see how the sensor performs in the shadows, mid-tones, and highs. 

Study this article.

The final image was taken with the Olympus XZ-2.

Olympus XZ-2 - ISO200, f2.0, 1/100 - Enhanced Raw File edited in WS and 16-bit Tiff exported to PS

I did everything we discussed in the above image. The sun was below the skyline, and the blue hour just started. The shadows were dark and I applied an exposure shift of +1/3EV. Back home, I selected AUTO Gradation in WS. I only found small amounts of noise when studying the image a little closer. The sensor was obviously more saturated. It was possible to up the reflected light more, but the result showed it was enough for this example. The basic principles I discussed worked well...