The histogram and digital imaging process...

Last updated: 9th April 2026

The positive memories of filming with VHS inspired my priorities while preparing the next update to my filming series with Olympus cameras. My goal was to prepare the final look of my image and video footage in the camera, which meant more advanced color and exposure techniques. I decided to use two Olympus E-M5 II cameras, as the unique film look of these cameras supported my VHS theme. It's easy to set the look and feel of the recordings in the camera. I also came across an interesting video from a YouTuber, Duade Paton, which encouraged me to prepare this short article in support of future articles. It's a good idea to watch his video before you study this interesting subject.

PS: My next article in my filming series will be out soon...

Olympus E-M10 II with the M.Zuiko 17mm f1.8 lens. ISO200, f4.5, 1/400. What do we learn from the histogram?

Basic guidelines to optimize your exposure mix

The histogram in the above image suggests an optimum exposure mix. The best way to confirm that is to analyze the histogram with the exposure mix. The goal is to evaluate the sensor's saturation level and SNR. The histogram plus the native ISO indicated a saturated sensor. The exposure mix produced excellent image quality with a wide depth of field at f4.5. The 4th exposure variable (late afternoon sun) was also ideal for the scene and the "painting with light" effect. This analysis would have looked different at higher ISOs, even though the histograms might have looked the same.

Summarizing the exposure mix and histogram of the above image:

• Histogram: A native ISO with no clipping and the histogram to the right.
• Native ISO: The sensor was saturated (with a high SNR) at its native ISO.
• Scene Luminance: The late afternoon sun and "painting with light" effect.
• Aperture: The right focus point at f4.5 - The MFT depth of field advantage.
• Image sharpness: A shutter speed of 1/400th worked well for sharp results.

It's impractical to evaluate image quality at higher ISOs with only the histogram. The alternative is to add sensor saturation and SNR to the mix with a personalized set of guidelines. The info in this article will help you identify and document "acceptable image quality" SNR values for your camera's sensor and ISO-to-SNR ratios. The reason is each camera model and sensor has a unique noise floor.

Tip: LV (Light Values or scene luminance) - Explained in the Duade Paton video.

Figure 1.

The above image signal flow diagram represents a high-level overview of the digital imaging process. It was created as a basic guide for photographers seeking an alternative to the oversimplified "bigger is better" or "capture more light" theory. The goal is to simplify managing technical aspects like image quality, dynamic range, and image noise. The image signal flow diagram highlights:

• 4 critical aspects of the digital imaging process (lens, sensor, processor, and Workspace).
• the 3 variables exposing the image sensor (reflected light, aperture, and shutter speed).
• the sensor and why the photons to electrons graph is critical for managing the sensor.
• the exposure formula and the 4 variables we manage in the digital imaging process.
• the role of the TruePic image processor and finalizing the digital imaging process.
• the link between the image processor, the exposure controller, and Workspace.

The question photographers fail to ask is, what causes noise, and how do we manage it? The answer is to study the photons-to-electrons graph. While the bucket-with-water example was used to support the "size and capture" theory, it failed to explain variables like image noise, sensor saturation, and SNR. Duade Paton added the role of "Light Values" in managing the exposure mix, noise (SNR), and ISO amplification. My suggestion is to add the following to his presentation:

• A layer of sand at the bottom of the bucket to represent the sensor's noise floor.
• Explain SNR and the effects of ISO amplification and lower light values on noise.
• Sensor saturation and the link to SNR, "filling the bucket," or exposing the sensor.

PS: Saturating the sensor (filling the bucket) is not something magically linked to sensor size...

Figure 2.

Many photographers don't know that lower SNR values are the reason for visible noise. The sensor's noise floor is always present; we just don't see it at higher SNRs. In other words, the layer of sand in the bucket is more visible with less water. An alternative option in low-light conditions is saturating the sensor (filling the bucket) with the camera's native ISO and wider apertures or longer exposures. One could also plan for more noise by upping the ISO and shutter speed (lower SNRs).

It should be clear that the ISO function does not generate noise. One can, therefore, consider the ISO function as an image signal amplifier (Fig. 1) or a creative/control element. For example, it's possible to manage highlight clipping when finalizing your exposure mix. For instance, set your nighttime city exposure mix, dial back the ISO (1 to 2 stops), and correct it with the exposure compensation slider in Workspace. What is the difference between exposure compensation and a tonal adjustment?

What is the secret to managing nighttime highlights with the ISO function? It's possible when we keep the reflected light exposing the sensor the same in manual mode. That means the sensor's SNR and saturation will not change. The FF collective explains this "magic" as lSO invariance...

The information in this article enables us to explain and manage dynamic range in a similar way as we would with noise. One can also explain dual ISO with this knowledge. Dual ISO is another example of the FF collective withholding information because sales have priority over knowledge. 

PS: Visible noise simply means the sand (noise floor) becomes more visible with a partially filled bucket.

Olympus E-M5 II with the amazing M.Zuiko 7-14mm f2.8 lens. ISO500, f3.2, 1/10 sec. I converted the enhanced Raw file in Workspace. 

How to use the histogram

Always remind yourself that your ISO value is another variable in the camera's exposure formula. ISO amplification is the difference between a partially exposed sensor and an 18% gray saturated sensor. The camera uses 18% gray exposures to accurately replicate ambient light and color.

Photographers were never "given" the chance to monitor the camera's sensor or manage variables like sensor saturation, noise, or dynamic range. The reason is the "bigger is better" narrative and social media distractions, like the histogram displays 8-bit JPEG data, ISO 100 on Olympus cameras differs from ISO 100 on others, or we shouldn't trust the histogram because it's inaccurate. These distractions are totally irrelevant when you start applying Live View and the histogram. Why?

A more productive way of applying the basic principles illustrated in this article is to always think in terms of f-stops (1 EV steps) while preparing your camera for the next challenging scene. It's critical to master the digital imaging process (Fig. 1) and the ability to manage your exposure mix. The most effective way to monitor the histogram and Live View display is Manual Exposure Mode.

Tip: I get the best results when studying the example below on my 27' iMac...

Example 1 - Ambient light

I am always surprised at the level of ignorance or cognitive dissonance when people boast about using ISO 25600 on social media. For example, ISO 25600 means 7 stops of amplification, whereas the above images illustrate a 3 EV delta. The left image was amplified by 3 stops, or ISO 800, and the image to the right shows how much reflected light was reaching (exposing) the sensor at ISO 800.

The histogram shows the brightness of the pixels. That means all 4 exposure variables. The horizontal axis is the brightness levels from pure black on the left to pure white on the right (0-255 tonal range), and the vertical axis is the number of pixels at each brightness point on the horizontal axis.

How did I measure the reflected light exposing the sensor? Start by setting your exposure in auto or aperture mode. Change to manual exposure mode and apply the autoexposure values. The histogram will display the reflected light exposing the sensor as you turn the ISO back to its native value. That means the histogram is measuring the reflected light passing through the aperture and shutter onto the sensor. The flow diagram in Figure 1 helps us to identify and target specific phases in the imaging process, and manual mode helps us to display them in Live View and the histogram.

For example, the goal with ETTR is to saturate the sensor. That means more reflected light reaching the sensor. One option is fixing the ISO and adjusting the shutter, aperture, and scene luminance. Use the histogram to monitor the reflected light reaching the sensor. The next example is clipping. For example, it's possible to clip highlights with the ISO, which means the sensor is not clipping. Use the histogram to establish which of the exposure variables are causing clipping.

PS. See the exposure formula for why I use 4 exposure "variables" and not only the 3 exposure triangle variables.

Olympus E-30 with the Zuiko 50-200mm f2.8 lens. ISO100, f5.6, 4" (An ambient light example)

The above image shows it's possible to saturate the sensor in low light. It's incorrect to link noise to low light because longer exposure times saturate the sensor. It simply means the bucket doesn't need to be filled instantly because the sensor is designed to also saturate over longer periods. Higher ISOs, shutter speeds, and noise are, therefore, application-specific. It is critical to consider the reflected light reaching the sensor when setting your aperture and shutter speed mix. Random safety margins result in less light reaching the sensor and lower SNR values or more visible noise. 

What happens when you select the HDR function in your Olympus camera or when we take bracketed exposures to create HDR images? The answer is exciting as you master the information discussed in this article. Exposure bracketing creates a series of images with saturated tonal areas across the tonal range. HDR software like Affinity combines these optimized tonal areas into one image. Your Olympus camera will also create a final HDR image. Don't allow forum "experts" to discourage you...

PS. Using long exposure times to saturate the sensor can result in heat (noise). What makes the OM-3 Astro special?

Example 2 - Ambient light with +2EV illumination

The above example is exciting because I upped the scene luminance (4th exposure variable) with 2 EV. I used a similar method with the cuckoo clock image. For example, I used a powerful LED light in the above example and selective lighting (painting with light) with the cuckoo clock. Selectively using or applying the time of day is another way to creatively "manage" the scene luminance.

Photographers often need higher shutter speeds in normal daylight conditions. Modern cameras are more efficient at lower saturation and SNR values, which makes higher ISOs of up to +3 stops possible in these conditions. Study the inserted 200% cropped gray cards in the photos. We can also manage the SNR by selectively adding noise to monotone (B&W) or monochrome photos.

I never consider social media talking points like noise, DR, diffraction, or image quality when I am out photographing with my Olympus cameras. I also don't use personalized ISO guides for my cameras. A basic understanding and the knowledge shared in this article are enough to benefit our results with any digital camera. For example, I only use Workspace and Affinity to process my images. Why would anyone prefer unfriendly MFT raw converters over Olympus colors and Workspace?

What about the AI concept that everything on the web belongs to everyone? An interesting difference between Workspace, Affinity, and ON1 versus other RAW converters is a folder-based image collection versus a database. With one, you know where to find your photos, and with the other, you never know who does mass surveys or sells information to camera manufacturers and others...

Olympus E-30 with the Zuiko 50-200mm f2.8 lens. ISO100, f5.6, 1" (Another ambient light example)

It's an exciting experience to study and discover Olympus and OM System cameras and Workspace. The histogram is only a tiny window to the creative and supportive features the Olympus engineering team created over the years. It's unique for older Olympus and OM System cameras to have access to the creative color strategy, advanced tonal adjustments, computational features, IBIS, and photographers accessing the cameras' TruePic image processor via PC-RAW mode with Workspace. Did you know that Fuji has something similar to Workspace? The downside is the camera has to be connected.

Here is a list of things we can explain with this article:

- Knowing that the ISO can be a cause of clipping is huge.

- Test the sensor and select the SNR points you are happy to use.

- It is now possible to explain HDR photography with this knowledge.

- The goal with ETTR is to manage and improve sensor saturation and SNR.

- It is now possible to manage the amount of noise in your black & white shots.

- 18% gray exposures and calibrating the WB in WS insure consistent image colors.

- This article reviews a new exposure technique to control the DR in night photography.

- The unique histogram and the Live View functionality of Olympus cameras and Workspace.

E-M5 with the M.Zuiko 12mm f2.0 lens. ISO12800, f9, 1/150. Monotone Picture Mode.

I took the above image with my Olympus E-M5. I selected the MKI because it has a larger noise floor than more recent cameras. The E-M5 histogram and Live View showed that the sensor received almost no reflected light. It wouldn't surprise me if the sensor's actual exposure level were at the Absolute Sensitivity Threshold (Fig. 2). Do you think one would see more noise at ISO 24600?

The next image was taken with the E-P7 in monochrome mode. My E-P7 review received more views than any of my other articles. The daily views tripled when the rumor surfaced that OM System might release an E-P8 in 2026. The monochrome function (Pen F, E-P7, and OM-3) is absolutely brilliant. It's also frustrating to see social media statements like "My favorite monochrome profile..." I'd rather see people experiment and manage their own monochrome look. Workspace and enhanced raw format are perfect for tweaking and practicing your monochrome photography skills.

E-P7 with the M.Zuiko 12mm f2.0 lens. ISO1000, f4.0, 1/20. Monochrome Picture Mode.

In summary, always plan and apply all 4 exposure variables controlling the camera's 18% gray exposure mix and practice using the histogram to follow the scene luminance exposing the sensor. The image signal flowchart and photons-to-electrons graph are basic tools to help us master key variables like sensor saturation, SNR, and the ISO (image signal amplification). While the ISO is part of the exposure formula, it does not directly control the reflected light to the sensor. Other key elements impacting the digital imaging process are the lens, sensor, TruePic processor, and Workspace.

Can we trust those saying physical size is a reliable measure to determine the efficiency of electronic parts? Should we take advice from those repeating that the ISO function is designed to adjust sensor sensitivity or that larger sensors have more image quality, dynamic range, and less noise? Imagine a large manufacturer showing the strength and courage to exit the FF collective, ban the repetition of nonsense, and differentiate themselves with innovation and informative marketing...

Someone who recently changed to an OM System camera solution made an interesting comment. The person said that one of the main aspects sparking his interest in MFT cameras was the knowledge and general creativity associated with Olympus and OM System photographers/communities.

Did Panasonic transition to the full-frame collective? See this article.

Best

Siegfried

My home studio layout continues to evolve...

Last update:- 11th January 2026

One of the more exciting photography applications is home studios and product photography. It's also a treat to watch product photographers advising others on how to grow successful businesses with a "perfect" home studio. These vary from a basic mobile phone to professional product studios. I have been working on a more flexible home studio and lighting configuration after years with a small off-the-shelf home studio. I upgraded the standard lighting to two Olympus FL600 flashlights, which gave me more control in RC mode when placing them in the right positions for product shoots. I had little freedom with this studio and wanted a new layout with more configuration options.

This basic off-the-shelf home studio was a gift from my dear wife.

My son and I talked about photography and other while spending a day together in December. He told me about a training session he did with an experienced group of photographers. The focus was studio layouts and creating a specific mood or atmosphere with studio lights. Being interested in the subject, I couldn't wait to try some of the techniques he mentioned in our conversation. A few days later we enjoyed an eventful Christmas Day as a family with grandchildren, presents, dinner, and me sharing some of the photos I created with my improved home studio and lighting setup.

Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO100, f3.5, 1/100)

My son didn't say much about my photos other than suggesting a quick hands-on session while waiting for dinner. He shared more basics and creative ideas on studio lighting and how it relates to outdoor conditions. He was using my OM System OM-3, while I tried the older Olympus E-450 before and after our hands-on session. The children had fun creating handmade shadows on the backdrop...

OM System OM-3 and the M.Zuiko 25mm f1.8 lens. (ISO3200, f3.5, 1/125)

I thought the image quality of the E-450 was way better than what most would have expected. What made my OM-3 an appropriate choice is its high-sensitivity BSI sensor and pro-level features. The OM-3 made it easier to capture excellent shots with better framing and creative angles. For example, the OM-3 photos were all handheld, whereas the E-450 lived on my tripod most of the time.

One of the interesting outcomes experimenting with home studios and new studio lighting options is how much I needed to learn about color, light, and product photography.

A few shots with the OM-3 and the SmallRig RM01 Kit before our Christmas dinner. (An example of the photographer's eye)

One typically expects large image quality differences between the OM-3 and the E-450, considering social media claims about newer and high-resolution cameras. The OM-3 photos should literally jump off your PC's display with its newer sensor and double the resolution of the older E-450. It's amusing to watch "trusted influencers" desperately repeating the full-frame sales pitch as they refuse to accept M43 image quality results while reviewing OM System cameras like the OM-5 II and the OM-3.

The E-M10 IV (SCN mode: Snow) with the M.Zuiko 12 - 45mm f4 Pro lens. The perfect weekend for my new home studio...

We know that OM System does not have entry-level cameras. Some would like us to think the OM-5 II is an entry-level camera, while knowing the E-M10 IV and E-P7 are more appropriate candidates. The OM System OM-5 II is simply a repackaged pro-level E-M1 III. A slightly improved and rebranded E-P7 and E-M10 IV have the potential to be great upgrade options for used compact owners.

One of my older home studio variations. What does your favorite home studio configuration look like?

It was a process to create a working home studio layout for my future needs. For example, you will see a different studio configuration in each of my images. Study my new studio layout below and how it gives me more control as I plan and frame my shots. Many of you will spot improvements I could consider while viewing my photos. What would you like to see from a new product studio?

You will find several similarities to modern AI and editing trends as you study my included photos. For example, those photos taken with a studio light pointing down are typically flat or two-dimensional. Experienced photographers develop a so-called photographer's eye, which helps them to use optimum camera angles and the right mix of natural-flowing highs, midtones, and shadows. AI masking and AI-generated images often fail to preserve these critical three-dimensional elements.

Secondhand cameras are one of the more exciting ways to rediscover and reconnect with photography and older Olympus cameras. It's a simple process of highlighting digital photography pioneers and the unique digital features they designed for older and modern digital cameras. While it's challenging to sell older DSLRs in 2026, I found they are excellent when sharing our passion for digital photography with the next generation of photographers. One such example is the E-450 from 2009.

I have bought only a few new cameras and accessories over the years. I also saved because I rotate the camera gear I use for articles and learning purposes. For example, I've been testing those popular "everyone agrees" claims promoters use when pushing better image quality. I continue to disagree with everyone after studying the test results from a carefully selected group of used cameras. I sold most of these tested cameras, improved my home studio, and saved the change...

The Olympus E-450 is an exciting DSLR from 2009. Many question the relevance of used mirrorless and older DSLR cameras. My experience rediscovering DSLRs like the E-3, E-450, E-30, and the Canon 6D II was surprisingly positive. A personal experience makes it harder to trust social media influencers making negative comments about used or micro four-thirds (M43) cameras.

The E-M5 III, M.Zuiko 25mm f1.8, Rotolight Illuminator, and the Olympus FL900 in RC mode. Is this a possible option?

Changing from an off-the-shelf home studio to a completely different studio configuration was a game changer. The entire room is now a potential product studio. It does take a little planning to set it up for different product shoots. Product photography seems to quickly become complex but is also very rewarding. See this video from the Tin House Studio in the UK. It wouldn't surprise me if features like high-resolution mode and focus stacking benefit M43 product photographers.

The TruePic image processor, Workspace, and a gray card is a winning combo.

The deeper depth-of-field (DOF) advantage of M43 cameras is a huge plus for product photographers. Another M43 advantage is lower ISOs at equivalent apertures. It simply means M43 cameras need lower ISOs at equivalent apertures or the same DOF as FF cameras. In other words, FF photographers will select an aperture of F11, and M43 photographers F5.6 for an equivalent or matching DOF. Micro four-thirds cameras therefore have a 2X advantage over FF cameras for landscape, macro, wildlife, or product photography. That also means lower ISOs or 2X less noise at an equivalent DOF. The SNR will improve because a lower ISO means more reflected light exposing the sensor...

See this article for more on the ISO-to-SNR ratio.

This is my 3-studio light configuration with my EM-1 III and OM Capture.

I coudn't find much on social media about product photography with Olympus or OM System. Marketers like to categorize cameras for wildlife, landscape, sport, and studio photography. I don't think hobby photographers benefit much from anything marketers label as appropriate. The above image shows a home studio scene with my Olympus E-M1 III, Macbook Pro, and OM Capture. Not all Olympus or OM System cameras are compatible with OM Capture. Surprisingly, the E-M5 II is on the list.

The E-M1 III with the 12 - 40mm f2.8 pro lens. (ISO800, f2.8, 1/60) This image benefitted from the deeper M43 DOF and ISO to SNR ratio.

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO200, f5.0, 1/2)

OM System OM-5 with the M.Zuiko12-45mm f4 lens. I used Workspace to process this "detailed" high-res RAW file.

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO100, f4.5, 1/2)

This was a quick illustration with more creative ideas for the future...

Olympus E-M1 III with the amazing M.Zuiko 12 - 40mm f2.8 Pro lens. (ISO800, f2.8, 1/50)

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens and a studio light pointing down. (ISO400, f5.0, 1/50)

Taken with the E-M5 III and the M.Zuiko 25mm f1.8 lens. (ISO800, f3.5, 1/60)

OM System OM-3 and the M.Zuiko 25mm f1.8 lens. (ISO3200, f3.5, 1/125, Workspace AI noise reduction)

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO100, f4.5, 1/5)

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO100, f5, 1/6)

OM System OM-5 with the M.Zuiko 12-45mm f4 lens. Workspace, High-res shot, and Monochrome profile.

Taken with the Olympus E-450 and the 50mm f2 Zuiko macro lens. (ISO100, f4.5, 1/1.6)

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO100, f4.5, 1/2)

Taken with the E-450 and the Zuiko 50mm f2 macro lens and a studio light pointing down. (ISO400, f3.5, 1/50)

Taken with the Olympus E450 and the Zuiko 50mm f2 macro lens. (ISO100, f4.5, 1/2)

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO200, f5.0, 1/1.6)

Taken with the Olympus E-450 and the Zuiko 50mm f2 macro lens. (ISO100, f4, 1/2)

Taken with the E-450 and the Zuiko 50mm f2 lens and a studio light pointing down. How did I switch on the motorcar's lights?

Workspace and the Enhanced Raw Format

Last updated: 23rd July 2025

In this article, we explore the distinct features of Workspace and how it sets itself apart from DxO PhotoLab and Lightroom. Photographers using Olympus and OM System cameras will find significant advantages in Workspace and the Enhanced Raw Format. For instance, Workspace simplifies the capturing of images and processing of raw files, removing the necessity for “muted” picture modes or external raw converters to produce high-quality images. Let’s examine the Enhanced Raw Format and the unique relationship between the camera’s TruePic image processor and Workspace.

Why the Enhanced Raw Format and not simply Raw files?

Some photographers express skepticism about the Enhanced Raw Format due to its lack of formal introduction. Delving into Olympus cameras allows us to rediscover insights that have been somewhat obscured during the transition of a century's worth of innovation to the OM System. By examining how Olympus has developed strategic technologies, we uncover that the Creative Color strategy originated in 2008 with the Olympus E-30 and took eight years to reach its full potential in the Pen F. In my research on the Enhanced Raw Format, I came across several technical notes from Olympus Japan that provided valuable insights regarding cameras such as the E-M1 II and the TruePic VIII image processor: “The TruePic image processor utilizes parallel blocks for exposure calculation, color reproduction, and effect synthesis, incorporating new and advanced metadata into the ORF file to ensure compatibility with post-processing.”

Olympus Pen F and M.Zuiko 12-45mm f4.0 Pro lens. I converted and edited (Adjust Color) the Enhanced Raw Files in Workspace.

How did I first learn about the Enhanced Raw format? I was aware that my camera settings could be accessed in Olympus Viewer 3. The significance of the connection between my camera and Viewer 3 became clear when I noticed the same functionality in Workspace. My goal was to document and explain the implications of this new raw format while actively seeking out additional information. For instance, I came across a quote in the 2016 Viewer 3 manual stating, “You can edit RAW files shot with an Olympus camera and adjust settings like white balance, Picture Mode, and Art Filters as if editing in-camera.” Through my exploration with AI, I uncovered more references about the Enhanced Raw Format. I wonder if Workspace serves as the Pen F's equivalent in this context or if the formal introduction was overlooked during the transition to OM System.

Figure 1.

The Enhanced Raw Format (ORF+) lets us optimize our camera settings in Workspace. Central to this new format is a shared processing platform between the Truepic Image Processor and Workspace. This functionality allows us to edit our camera settings on a personal computer. For example, we can now finalize critical camera adjustments such as exposure, creative color, tonal adjustments, and others within Workspace. This development offers us the unique flexibility to modify our camera settings within the camera or through a personal computer in Workspace.

See this article for more about exposure and tonal adjustments.

For example, selecting the "high" gradation option automatically configures an optimal ETTR (Expose To The Right) exposure. The Enhanced Raw Format allows us to view the Olympus gradation feature as an add-on to the camera's exposure and gamma adjustments. The purpose of ETTR adjustments is to effectively saturate the sensor, enhance the signal-to-noise ratio (SNR), and lower image noise. ORF+ enables us to finalize our exposure and gradation adjustments in Workspace. 

For instance, the exposure compensation slider of Workspace is linked to the camera's ISO setting in the exposure controller. The "normal" gradation option resets the camera's "high" setting. In essence, ORF+ enables us to tweak camera settings and adjustments in Workspace as if in the camera.

See this article for more on the Olympus Gradation function.

ETTR explains why sensor size is a myth. Please note that ETTR is an advanced technique primarily used in critical applications. It is not a daily technique one would use to lower image noise. However, a good understanding of the basic principles supporting ETTR, along with the flow diagram in Figure 1, can significantly enhance your photography skills and improve the quality of your images.

The next example explores Workspace and the Enhanced Raw format.

Olympus cameras use Digital ESP metering to assess exposure across the entire sensor, rather than just the cropped area defined by the aspect ratio. This is crucial, as the camera's display shows the cropped section. Users can select a 4:3 aspect ratio in the camera and the final ratio in Workspace. This approach allows for a better evaluation of exposure metrics. For instance, to achieve a specific exposure, one can employ the Auto Exposure Lock (AEL) feature by adjusting the camera's angle slightly upward or downward while monitoring the histogram and Live View display.

Olympus EP-7 with 12-45mm f4.0 lens. This is the original camera jpeg (ISO200, f5.0, 1/100).

Contrary to what we see in the above photo, the shadow area had good visibility. Why is this critical? Because we know the sensor received reflected light (image data) from the shadows. No luminance would have meant no available image data. The camera's standard gamma profile does not prioritize a natural look. One of Gradation's "AUTO" benefits is a more natural-looking Gamma profile.

The picture below is an edited version of the above JPEG. The loss of shadow and color information is a general weakness of recovering data from a JPEG. The above image illustrates the significance of knowing your camera, the Enhanced Raw Format, and having the camera's settings in Workspace. The alternative is an expensive full-frame camera, and trusting the sensor does everything.

This is an edited Jpeg. I increased the shadow brightness in Photoshop.

The above JPEG illustrates the benefits of the Olympus Creative Color Strategy and the Enhanced Raw Format. Olympus understood the value of experienced M43 photographers, a structured TruePic image creation processor, and replicating the camera's settings in Workspace. Today, we learn more about this new strategy from Olympus' press releases, Q&A pages, and product documentation.

Figure 1 illustrates the image signal path from the scene to the SD card. The Enhanced Raw Format is all about the camera's settings and tweaking the results (painting with light) in Workspace. A key part of this process is tonal adjustments or tweaking the final Gamma profile. It would be nice to know if any of the commercial raw converters have access to the same camera data as Workspace.

See this article for more on the Creative Color Strategy from Olympus.

An integrated solution lets us replicate the camera's exposure, settings, tonal data, and creative color data in Workspace. For instance, we set the sensor's saturation (SNR) with the shutter, aperture, and ISO mix while tweaking the final exposure in Workspace with the Exposure Compensation slider. Tonal adjustments (Gradation, highlights, mid-tones, shadows, and Tone Curve) let us set the final image look in Workspace. In other words, we can do everything in the camera or use a specific exposure mix and benefit from having "saturated" image data and our camera settings in Workspace.

Workspace exports converted Raw files as JPEG or TIFF files. This protects and preserves the original ORF+ files. Hobby photographers do not forfeit any ORF+ benefits with the 16-bit TIFF option. As many as 95% of my 16-bit TIFF files are slightly re-edited in Workspace and exported as web files. I convert the remaining 5% with Workspace and edit the 16-bit TIFF files with Affinity Photo 2. 

The following 3 images are the same raw file converted in Photoshop, PhotoLab, and Workspace. They illustrate "recovery" processing priorities when converting poorly exposed images. The post-processing algorithms of raw converters like Lightroom and PhotoLab differ from Workspace because they don't utilize the same enhanced raw information from the camera's image processor. That said, these are all good raw and post-processing options that are capable of delivering amazing results.

See this article for more on IQ and exposure mix.

The images below were re-edited in 2025 and are illustrations only.

Olympus E-P7 with 12-45mm f4.0 lens. I converted the ORF file in Workspace.

Olympus E-P7 with 12-45mm f4.0 lens. I converted the ORF file in Photoshop CC25.

Olympus E-P7 with 12-45mm f4.0 lens. I converted the ORF file in PhotoLab 7.

What can we learn about the Olympus E-P7 from this example?

The sensor received two levels of reflected light from the scene. The brightly lit areas displayed a higher light intensity, while the shadows were dimmer. Consequently, the signal-to-noise ratio (SNR) was less in the shadows, and the sensor was more saturation in the brighter areas. A lower SNR leads to more visible noise and less tonal data, limiting our ability to recover details from the shadows. However, we can enhance this scenario by employing a different exposure strategy.

I used Auto Exposure in Aperture Mode, which allows the camera to avoid clipping by choosing a 'safe' exposure. This 'safe' exposure results in a histogram that skews more to the left, providing a safety headroom on the right. Typically, this approach increases shadow noise due to lower sensor saturation and a reduced signal-to-noise ratio. However, the shadow noise is surprisingly minimal, indicating that the Pen E-P7 features a more sensitive sensor with a lower noise floor.

An amazing camera and lens combo from Olympus. Each Olympus enthusiast should own at least one of these!

What about the new OM System OM-3?

After just a week with the OM-3, I like to share some preliminary feedback. The OM-System OM-3, featuring a larger body, a revamped menu layout, and exciting new capabilities, doesn't quite feel like a typical Olympus M43 camera. It's a beautifully designed camera, and I’m confident that many M43 photographers will achieve remarkable results with it. However, given its size, absence of a handgrip, and overall weight, it wouldn't be fair to claim that the OM-3 is a clear substitute for my Pen F. Is the OM-3 an intriguing camera? Absolutely, I’ve already received my complimentary camera strap and placed an order for the bottom plate handgrip combo. See this article for more.

It took some time to configure my OM-3 like my Pen F. The menu is very different from the familiar Olympus menu. For example, configuring the shutter button takes more than one menu. The results below speak for themselves. I used my familiar "ORF+" workflow in Workspace for the OM-3.

See my Workspace and ORF+ conversion/editing comments below these 3 images.

OM System OM-3 with the M.Zuiko 17mm f1.8 lens . This is the camera JPEG (ISO200, f5.0, 1/250).

OM System OM-3 with the M.Zuiko 17mm f1.8 lens. I converted the ORF file in Workspace (ISO200, f5.0, 1/250).

OM System OM-3 with the M.Zuiko 17mm f1.8 lens. I converted the ORF file in Photoshop (ISO200, f5.0, 1/250).

A few general questions and answers about Workspace

Do we need to select our camera settings in Workspace? In the past, I said it's necessary to "activate" your camera settings in Workspace. This was incorrect because our camera settings are active when we open the ORF+ file in Workspace. You need to reset those settings you don't want. For example, you would reset any Gradation options with the Normal option. 

Are the camera's saturation, sharpness, and contrast data available in Workspace? The camera's Exposure, Creative, and Gamma data are replicated in Workspace. The TruePic (JPEG) settings are not copied to the Enhanced RAW file. The reason could be that "basic" editing adjustments differ from full RGB data linked to the TruePic processor's Exposure, Creative, and Gamma controllers. The best option is to test if you see camera settings like saturation, contrast, and sharpness in Workspace. I did a quick test with the older E-P5 and saw these camera settings in Workspace. What I could not see were JPEG adjustments made in the iAuto mode with the "Live Guide" function.

I used the OM System OM-3 with the M.Zuiko 12 - 45mm f4.0 Pro Lens. I converted the ORF+ files in Workspace.

Did I discover any of the "new" OM-3 settings in Workspace? It would have been great to adjust the ND and GND filters using Workspace. However, it appears that none of the new OM-3 (OM-1) features are accessible in Workspace. The OM-3 seems to replicate the same data as previous Olympus OM-D and Pen cameras. Can we expect any innovations from OM System in the future?

Name 2 unique Workspace features. Workspace has many unique features and options. The first is editing JPEGs in Workspace. For example, some of the older Olympus camera ORF+ files do not have access the Adjust Color function. The solution is to save the ORF+ as a JPEG and edit it in Workspace. For example, it's possible to simulate layers with multiple JPEG edits. The second unique feature is the Workspace batch processing option (highly recommended). My primary raw conversion application is Workspace. The current version (V4) is quick and a pleasure to use.

OM-3 with M.Zuiko 17mm f1.8 lens. ISO200, f5.0, 1/60. I converted the ORF+ file in Workspace. 

Conclusion

Olympus M43 cameras will continue to be innovative and creative options in 2025. The future success of digital cameras depends on the ability of manufacturers to adapt and focus on advanced image processing rather than bigger and more expensive sensors. The future of photography is a new version of Creative Color, the ORF+ Format, and computational photography. Does OM System appreciate the significance of the Enhanced Raw concept, and what are they planning for the future?

The pictures below highlight the image quality of the EM1 III with something like the M.Zuiko 17mm f1.2 Pro lens. Each of the 5 cameras in this article offers great image quality with clear application strengths and weaknesses. The reason for selecting one of these 5 cameras shouldn't be image quality. Size, comfort, functionality, and application should be high on your list. The Fuji X-T5, X-H2, and X-H2S are excellent examples of selecting the right camera for your personal and application needs. They all have high quality image sensors with specific attributes and application benefits.

Best

Siegfried

Fuji X-T4 and the 35mm f1.4 lens. ISO3200, f3.6, 1/18, -1EV (Provia film simulation & handheld). I converted the Raw file in PL-6.

A sunset with my Olympus Pen F and the Zuiko 17mm f1.8 lens. ISO200, f5.6, 1/200. I edited the photo in Ol Share (Color Creator). 

Instagram Images

This version of the image was prepared in Photoshop.

Olympus EM1 III with 17mm f1.2 lens. ISO1000, f1.2, 1/30 handheld. The amazing M43 (DOF) benefit.

Olympus EM1 III with 17mm f1.2 lens ISO1250, f1.2, 1/13 handheld. Amazing detail and M43 (DOF) benefit.

OM-3 with the MZuiko 12 - 45mm f4.0 Pro Lens. I converted/edited the Enhanced Raw File in Workspace.

Fuji X-T5 with the 23mm f1.4 lens ISO3200, f3.6, 1/7th, -1EV. This is the Camera Jpeg (handheld).

I converted this OM-3 raw file in DxO PhotoLab 7. I prefer PhotoLab over LR or Adobe (ARC).