A new OM-System Pen F II

Last Update:- 17th February 2023

Introduction.

I invite all Olympus photographers who enjoy creative, color, and monochrome profiles to come and dream with me about an 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 design a Pen F II with an Advanced User Interface following the visionary design achievements of Olympus. While manufacturers did a great job of letting digital cameras feel more analog, the camera's user interface stagnated in the past 15 years. We mainly saw higher resolutions, flippy displays, and different menus.

Digital cameras use a basic display format with numerical Aperture, Shutter, and ISO values. This led to photographers accepting analog exposure techniques like the Exposure Triangle. For example, many digital photographers were told the ISO function adjusts sensor sensitivity. The key points of having a "new" electronic image sensor were never fully explained to digital photographers.

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

It's fascinating how manufacturers never applied the camera's sensor and CPU to assist photographers with advanced Graphical Displays and information like hyperfocal points, Aperture & Shutter speed effects, focus stacking, and flash photography. Modern motorcars are a great example of displaying relevant and processed data to the driver. For example, how often do we increase our ISO without realizing it's possible to gain +1EV by changing the focus and aperture combination? 

The new User Interface should display more processed info from the sensor and TruePix CPU. The Sensor Performance Meter and advanced features, like hyperfocal focus points and a DOF meter, are examples of a future User Interface. It should offer photographers more options for preparing their cameras. Study the article for more about the next generation of OM-System cameras.

The Sensor Performance Meter is based on the following:-

• Redesign the camera display but keep the aperture, shutter, and ISO dials.
• All image sensors have a Noise Floor that is independent of sensor size.
• We have some control over the SNR or the visibility of the Noise Floor.
• Shutter Speed, Aperture, and ISO are part of the Exposure Formula, BUT:
• The Aperture and Shutter control the light reaching (exposing) the sensor.
• The ISO amplifies the image signal, and sensor sensitivity is factory set. 
• We can improve our SNR (Sensor Saturation) by adding more light to the sensor.
• The reverse happens (more image noise) when the sensor receives less light...
• The camera's Auto Exposure (default) settings give us Good Image Quality. (D)
• The synergy between Enhanced Raw Files, OMS cameras, and WS is unbeatable.

Study this article for a more detailed explanation of the DxO "Image Quality Database."

Study this article for more on exposure and how to apply the ISO "Image Brightness."

Olympus photographers benefit most from a new Sensor Performance Meter because it improves the understanding of sensor saturation and image noise. It will also help OM-System to establish a new dynamic amongst photographers and exit the sensor size and autofocus cycle repeating itself with each new camera. See my OM-System OM-1 II overview for more about a new OMS camera...

How do we benefit from working with Sensor Saturation and ISO amplification? Because it's possible to manage the sensor separately from the ISO. This lets us think differently about the ISO, Aperture, and Shutter Speed. It opens new options, like using a saturated sensor to lower the ISO (image brightness) for more control over highlights. The ISO and Workspace EC slider are basically the same thing. That means we can set our final image brightness in Workspace. This is why the Sensor Performance Meter has an A/B display option for the camera. See this article for more...

What could the new OM-System camera be like?

The new OMS camera could be like the Pen F, EP-7, or Fuji X100V with the new User Interface and a low noise, high sensitivity 24MP BSI MOS sensor. The target segment should be street, family, travel, event, and hobby photographers. Focus on creative AI features versus AF AI solutions. The new camera's AF system should be a clever derivative of the EM1 III (OM-5) AF technology.

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.

Here are some suggestions for the new camera:-

• Go back to high-quality metal camera bodies. Pls not like the Pen EP-7.
• Hue and Luminance options for the Color Adjust function in the camera.
• Add the Clarity and Dehaze sliders of Workspace to the camera's menu.
• Create a function that will copy and paste color information in Workspace.
• Rethink the ISO function by expanding its link to the Workspace EC slider.
• This camera should have a high-res EVF and display plus related features.
• The new Sensor Performance Meter simplifies sensor saturation and the ISO.
• A graphical DOF slider and AI focus options to optimize aperture selections.
• Flexible Tonal options (profiles) & AI options to tweak the Gamma Curve.
• Consider the following new AI options:-
• 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 autofocusing.
• Build new creative communities to discuss and share info and color profiles.
• The focus should be flexibility, image quality, color, and communication.
• 8EV IBIS, Multi-Aspect Ratios, and super quick handheld 50MP High Ress.
• The TruePic IX or X image processor with social media vertical videos. 
• Design selective improvements for the Workspace video editing function.
• The video capabilities of this camera should be tailored for this segment.
• This is NOT a high-speed Pro Camera for bird and wildlife photographers.
• This should not be another "hybrid" camera. A photo camera with video...
• The simplicity of the Pen EP-7 is perfect. We need just a little more...
• Label this new OM-System camera a Pen-F II to accelerate its success...

Why would "size and capture" fanboys NEVER accept this illustration? Because it doesn't support their "size and capture" theory...

Conclusion

Each digital photographer should get the chance to learn more about digital cameras, especially the link between the image sensor, sensor saturation, SNR, exposure formula, and ISO amplification. In fact, it's disappointing when M43 photographers on YouTube say the analog Exposure Triangle is OK for planning your exposure or the ISO function adjusts sensor sensitivity. I can't help but question the seriousness of those ignoring the unique differences of digital cameras...

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

Are you aware of the ongoing "grassroots" and social media action against DxOMark? I studied their camera ratings while prepping my recent article on their Image Quality Database. DxO is receiving overwhelmingly biased reactions from "size and capture" fanboys. Why the animosity? Because DxO does not support or promote the "size and capture" theory like many camera review sites. How do I know that? Study how DxO defines image quality (SNR). Is this why we had no test results on newer cameras from OM-System? 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...

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 the 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 software experts? Considering the latest deliverables from camera manufacturers like FujiFilm, Sony, Nikon, and Canon, did your experience with or perception of OM-System change over the past 12 months? 

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

I have no inside 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 its resale value. Why not a simple strategy of adding a premium to the improved dust and splashproof ratings of the "new" OM-System lenses?

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 is a small bird and wildlife segment. 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 their R&D team to design a new OM-System camera? These are valid concerns because traditional M43 or Olympus photographers increasingly purchase full-frame and APC cameras. That simply means OM-System gave other brands a huge 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 could 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 focussing 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:-

- 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

The new OM-1 Stacked BSI with Quad Pixel AF...

Last updated:- 22nd January 2023

Introduction.

We see the main areas improving when we study the image sensor and how scientists spend R&D dollars. That said, it's good to focus on all these components:-

• Speed (new generation sensors are faster)
• Resolution (the trend is to have more megapixels)
• Sensitivity (Optical & Quantum efficiency - very important)
• Firmware (Sensor and camera CPUs - Image Processors are crucial)
• Sensor Noise Floor (a smaller noise floor with each new generation)

The video discusses the new OM-1 image sensor and why it's a critical development for Micro Four Thirds. We see how Olympus photographers benefited from the OM-1 sensor improvements. We also take a closer look at the new Stacked BSI Image Sensor and why the step to BSI technology.

Camera reviewers never discuss the losses associated with more pixels. For example, any improvements in sensor sensitivity, firmware, or image processing are used to offset the losses from adding more and smaller pixels. OMDS did the opposite and kept the OM-1 resolution the same at 20MP. This pixel count and the new BSI sensor technology made it possible to improve the OM-1 noise performance with up to +2EV and the DR with +1EV. The BSI sensitivity also improved the OM-1's ability to capture detail. These are the benefits of moving from a MOV CMOS to a BSI CMOS sensor.

As seen in the video, it's technically possible to explain why the BSI sensor is better. Looking for similar examples, study the Sony A7 II and A7 III. Like the EM1 and the OM-1, the A7 II / III have the same sensor size and resolution. Like OMDS, Sony also achieved the "standard" BSI noise improvements of +1.5EV and the DR increase of +1EV with the A7 III. 

Olympus EM1 III with 12-200mm lens and Pro Capture function.

In the following example, Sony used the improvements to the new A7 IV image sensor to offset the losses of adding 40% more megapixels. No matter how you view it, pixels come at a price. In other words, except for the additional pixels, the A7 IV image quality stayed similar to the A7 III. This is an example of how much sensors improve from one generation to the next...

It is crucial to challenge those saying stacked BSI sensors have no benefits. Ask for the same detailed information as in this short article and video. It became so easy to randomly drop incorrect statements on social media.

The R&D on the new image sensor started below the surface. Pixels capture Photons, and pixels are the link to Sensor Sensitivity. For example, scientists will target the noise floor of the sensor, and they will focus on Optical and Quantum Efficiency. The stacked configuration improves the operation and speed of both pixels and the image sensor.

Olympus EM1 III with the 12-200mm lens and the Pro Capture function.

Stacked BSI Live MOS sensor with Quad Pixel AF

A big thank you to the forum poster who posted positive feedback on my OM-1 video. Another forum poster asked for information on the "Quad Bayer AF" solution. The information in my video is enough to help photographers understand the Stacked BSI sensor. Obviously, some photographers like to have more, and that is good.

The source is OMDS                   

It is always better to rely on information from manufacturers. For example, see the OM-1 press release further down. You will see OMDS talking about their Cross Quad Pixel AF solution. This is something we can research. Having done that, we see the first Quad Pixel AF solution came from Canon. The Quad Pixel AF is the next level up to the older Canon Dual Pixel AF solution. Dual Pixel AF is similar to the Standard CMOS technology Canon has been using for years.

It could be that OMDS decided to select a new sensor manufacturer to take this new Stacked BSI - Quad Pixel AF sensor with the more powerful Truepic X CPU to the next level. The main benefit of the Cross Quad Pixel AF sensor is speed, accuracy, and a 4D-type AF capability. This improves the Uni-Directional Dual Pixel AF solution from Canon with all its limitations.

3 aspects of the new OM-1 sensor should be discussed more:-

1. Pixels capture Photons, and it is possible to improve image sensors...
2. There is so much more to discover about this amazing new image sensor
3. We are also seeing more excellent images and feedback from OM-1 users

The official OM-1 news release...

Interesting additional reading:-

- Quad Bayer Sensors - what are they and what are they not - link

- Bringing Backside Illumination to high-speed applications - link

- Interesting explanation of the Quad Bayer section and sensors - link

- Also see this info on Wikipedia (Fuji, Bayer, Quad Bayer, and more) - link

- Comparison between front, and back-illuminated sensors - link

- One more site with detail on the sensor - link

- See this discussion on image quality on DPReview - link

- Interesting book if you like to study more - link

- See the Sony A7 III description of the BSI improvements - link

- Here are some OM-1 test images for download from Image Resource - link

- Another article discussing OMDS introducing the Quad Pixel AF solution - link

- Peta Pixel discussing the Quad Pixel AF tech with a typical Canon video - link

- One of the OM-Systems  OM-1 launch videos - one of the better ones - link

- OM-1 Review, a great overview from an existing Olympus photographer - link

- "Size and capture" theory & counter-marketing. Do you trust undisclosed promotions? - link