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...

Best

Siegfried

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

Enjoy Wildlife Photography with M43 Cameras

Last updated:- 24th January 2025

This article reviews the technical and optical strengths and weaknesses of different sensor sizes and why the demand for high ISOs doesn't apply to all wildlife photographers. My goal with this article is to illustrate alternative options hobby photographers could use for wildlife photography. Please study the included links for more about planning and selecting optimum weather and light conditions.

Also, study 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.

Most full-frame promoters claim they need higher ISOs for wildlife photography. The commercial spin is that full-frame cameras are better at higher ISOs. The challenge is high ISOs are not the only option in diverse conditions or wildlife photography. For example, how much "Reflected Light" exposes the sensor at +ISO20K or an ISO amplification of 7-Stops. How many hobby photographers do pre-sunrise or post-sunset wildlife photography? Most wildlife safaris are scheduled after sunrise or before sunset. Some of the best wildlife photography opportunities are in the morning or late afternoon.

Study this article about the most likely available light at ISO6400 or higher.

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.

This article reviews the technical and optical aspects of digital cameras. For example, there are many ways to evaluate M43 cameras and improve your wildlife photography. It's crucial to master concepts like Sensor Saturation and SNR if you plan to capture wild animals in poor lighting conditions.

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

"Olympus wildlife photographers are cheating..."

It's always fun to see a full-frame photographer's reaction to Pro-Capture. Some say Pro-Capture is an unfair advantage (cheating). I also disagree with those claiming that crop sensors have more noise as it always points to the commercial "size and capture" theory. Noise is NOT a function of sensor size because every sensor has a noise floor with Read and Shot noise. The characteristics of this noise floor are technical and a function of sensor design. I also think a classic "portrait" look with a blurred background applies to specific wildlife environments like waterholes or open fields. The challenge most wildlife photographers face is showcasing the natural habitat of wild animals.

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
• The 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 housing them

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 lower. The summary below is designed for M43 wildlife photographers:-

• M43 photographers can safely use apertures between f4,5 and f7,1 (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 for wildlife photographers. 

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. 

Olympus E-3 and 50 - 200mm f2.8 - 3.5 Zuiko lens. ISO160, f3.5, 1/320. I converted the raw file with Workspace.

The Olympus E3 has no AI Subject Recognition or Eye Detection. It was launched with the quickest AF lock-on time in 2007. While most photographers enjoy the benefits of technology and new autofocus algorithms, it does not need to be a deal breaker for experienced wildlife photographers.

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...

Siegfried

Olympus E-3 with 25mm f2.8 lens. ISO160, f3.5, 1/320. Raw file converted 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 benefits of the Cross Quad Pixel AF sensor are 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