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:- 6th January 2023

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

This short article reviews some of the misunderstandings associated with Micro Four Thirds. This article will provide readers with enough information to improve their wildlife photography skills.

Also, see this article about wildlife photography with the Zuiko 12-200mm lens.

Olympus E-3 with the Zuiko 50-200mm f2.8-3.5. ISO160, f8, 1/125. I converted the Enhanced Raw File in Workspace.

This example of too much noise at ISO20K made me wonder how much "Reflected Light" is available at nearly 7-stops of ISO amplification. How much of the wildlife photographer's daytime is spent in such conditions? It's also clear that the Pangolin photographers support the "size and capture" theory. Will their videos benefit from a better theoretical understanding of digital cameras? For example, the ISO to SNR ratio is enough to explain the different scenarios we are reviewing in these 2 videos.

Study this article about the potential available light at ISO6400.

E-3 with the Zuiko 28mm f2.8 lens. ISO160, f2.8, 1/100. I edited this Low-light Raw file with PL-5 and DeepPrime NR.

In this video, Janine reviews several ways of improving your wildlife photography. Except for the part where she says the "ISO function adjusts the sensor's sensitivity, I thought the video was excellent. It's clear that they support the commercial "size and capture" theory. It was designed to promote FF cameras. This kind of marketing (Astroturfing) represents the worst of modern marketing.

Olympus E-3 with Zuiko 50-200mm f2.8-3.5 lens. ISO160, f8, 1/640. I edited the Enhanced Raw file in Workspace.

Study the additional information below:-

- This is an older article about a visit to a South African game reserve.

- See this article about background blur (info) 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 react to Pro-Capture. I disagree with the 1st disadvantage discussed in the video because it's part of the commercial "size and capture" theory. Noise is NOT a function of sensor size because EACH sensor has a native noise floor with Read and Shot noise. The characteristics of this noise floor are a function of sensor design. I also think the classic "portrait" look with a blurred background works only in some cases for wildlife photography. The challenge wildlife photographers face is to include the natural habitat of wild animals.

I like to focus on the Pangolin photographers and their experience. How could we combine this experience with the right theoretical knowledge about digital or Micro Four Third cameras?

My family and I left South Africa 20 years ago, and will always be part of Africa. This is a typical bushveld scene.

How does a theoretical explanation benefit photographers?

Each photographer should start with these 6 points:-

• All lenses have diffraction, and this is something photographers manage.
• Sensors are linear devices, and they record less tonal data at lower SNRs
• A saturated image sensor has a higher SNR with less visible 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 E-3 with the Zuiko 50 - 200mm f2.8 - 3.5 lens - ISO160, f3.5, 1/3200 - The Raw file was converted in PhotoLab 5

We know M43 photographers enjoy a 2EV Depth of Field (DOF) advantage plus the size and weight of M43 lenses are less. The summary below is 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 confirm your exposure settings. (start with: 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 E-3 with the Zuiko 50-200mm f2,8-f4 Pro lens. ISO160, f4, 1/2000. I converted the raw file with PhotoLab 5.

The above scene showcases the animal's natural habitat. They are experts at hiding and being one with nature. They are seldom in open spaces in the bushveld or Kruger National Park. Wild animals will only enter open spaces when they need water. I prefer the bushveld areas over the danger associated with open drinking spaces. That's why I don't do portrait-style wildlife photography with blurred backgrounds. The above image represents a more natural look of wildlife photography. 

E-3 with the Zuiko 50-200mm f2.8-35 lens. The Enhanced Raw File was converted in Workspace.

Andrew Goodall is one of my favorite wildlife photographers. This video shows his 2023 photo summary with excellent wildlife photos. It's a good idea to make notes of his camera settings.

Most game drives are done in poor to good daylight conditions. Waterholes are very popular. Talk to your local ranger about photography spots and what you like to see. List the animals you want to photograph while they are at these waterholes. Discuss your lighting preferences and having the sun behind you. Always ask for info about sunrise and sunset safari drives or other opportunities. Another exciting destination for wildlife photography is the Etosha National Park in Namibia.

Olympus E-3 with 50-200mm f2.8-3.5 lens. ISO160, 1/4000, f3.5, -0.7EV (PhotoLab 5)

Which M43 cameras are best for Wildlife Photography?

The best M43 wildlife photography camera is the one you keep with you. I purposely uploaded these images of my older Olympus E3 (10MP). Wildlife photographers don't need "forum-approved" cameras, the latest and greatest cameras, or those with the best reviews for wildlife photography. 

The Olympus E3 did not have AI Subject Recognition or Eye Detection. It was launched with the quickest AF lock-on time for 2007. While most photographers enjoy the benefits of technology and new autofocus features, it does not need to be a deal breaker for modern wildlife photography.

Olympus E-3 with 50-200mm f2.8-f3.5 lens. ISO160, 1/2000, f3. I converted the raw in PhotoLab 5. 

Conclusion

Olympus has an excellent range of professional equipment. Pro lenses are designed for the highest levels of image quality,, image details, weather sealing, and fast apertures. These extreme levels of performance are only necessary when doing professional wildlife photography. Plan your photo sessions... 

Standard and Premium Zuiko lenses are more than enough for most hobby photographers. They have excellent image quality. While they are slower lenses they are good for starting wildlife photography. I decided to focus on three affordable solutions for those interested in wildlife photography.

Olympus E-3 with 50-200mm f2.8-3.5 lens. ISO160, f2.8, 1/640. Handheld and I converted the Raw file in PhotoLab 5.

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...

Olympus E-3 with the Zuiko 50-200mm f2.8-3.5 lens. ISO160, f8, 1/160. I converted the Enhanced Raw File in Workspace.

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

Olympus E-3 with 50-200mm f2,8-3,5 lens. ISO160, f3.5, 1/500. Converted 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)

E-3 with Zuiko 50-200mm f2.8-3.5 lens. ISO160, f3.5, 1/1600, -0.3EV. I converted the enhanced raw file in Workspace.

These are more cost-effective lenses for beginners and semi-advanced photographers. They offer excellent image quality with cameras like the EM10 II/III, EM5 II/III, EM1 I/II/III, and the OM-1.

Smaller Bush Lodges offer 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 more casual nature, birding, and wildlife photography.

E-3 with the Zuiko 50 - 200mm f2.8 to f3.5 lens - ISO160, f3.5, 1/500 - The Enhanced Raw File was converted in Workspace.

Which secondhand Olympus cameras are best for wildlife photography?

• The EM1 II is a great wildlife camera. They are affordable and have 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 was blown away by this excellent camera.

Olympus E-3 with the Zuiko 14-54mm f2.8-3.5 lens. ISO160, f9, 1/125. The Enhanced Raw File was converted in Workspace.

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 add-on Grip, the Zuiko 75-300mm, or the Zuiko 12-200mm lens
3. The older EM5 II with the 14-150mm f4-f5.6 II lens is an excellent combination
4. The Pen F or the E-P7 with the 18mm f1.8 and the 14-150mm f4-5.6 II lens

Olympus E-3 with 50-200mm f2.8-3.5 lens. ISO 160, f3.5, 1/2000. Raw file converted 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.

Olympus E-3 with the Zuiko 14-54mm f2.8-3.5 lens. ISO160, f4.5, 1/400. I converted the Enhanced Raw File in Workspace.

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 in Africa. Finally, nothing beats the love for nature, enthusiasm, patience, and practice with your Olympus cameras.

It was fun editing these RAW files of my older Olympus E3. It doesn't take much to say this is a great camera when going through the E3 images. 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 more 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 E-3 with 25mm f2.8 lens. ISO160, f3.5, 1/320. Raw file converted with PhotoLab 5 and DeepPrime NR