VideoPic Blog: Olympus WorkSpace

Showing posts with label Olympus WorkSpace. Show all posts

Mar 17, 2024

Advanced Exposure Techniques and Workspace

Last updated:- 17th March 2024

Introduction

I lost my left arm in a motorcar accident and have been on pain medication ever since. It's difficult to say which is worse, losing my left arm or the opioid-based pain medication. My wife and I worked hard to reduce my pain medication, and we reached the point of cutting it completely. Those who followed my blog know how it benefitted me personally and my ability to write better articles.

I bought my first digital camera in 1998, which also started my craving for that perfect digital camera promoted by camera reviewers and social media experts. Breaking free from commercially biased theories, repetition, and the collective social media influence is similar to walking away from addictive medication. I can write a book about these processes and the similarities...

Olympus EM5 II with 25mm f1.4 Leica - ISO800, f3.2, 1/25 - Enhanced Raw File converted in WS. I used my ISO to control the highlights.

I use a simple strategy or rule when studying technical info. I reject any "interesting" information that does not improve my photography. My understanding and articles about digital cameras focus on information that improves the average photographer's image quality. My regular readers appreciate the benefits of marketing free camera knowledge. This is an ongoing learning experience...

The technical aspects of cameras interest me the most. My wife and I enjoy taking photos and using them in different projects. We love photography and regard ourselves as hobby photographers.

Fuji FinePix A201 (2MP) compact camera. ISO100, f4.5, 1/45 seconds. Slightly edited in Photoshop.

My focus in 2024 and onward...

The challenge of learning and growing the MyOlympuOMD blog impacted my recovery positively. I will continue to develop the blog and plan to focus on used Olympus cameras while we are waiting for a real OM-System camera. This includes exploring unique cameras like the Fuji XT-5, the Sony ZV-E1, the Panasonic GM-1, and the EP-7. I also plan to create more YouTube videos in 2024.

My focus will be the following subjects for this blog and YouTube:

Videography with basic principles, casual videos, and documentaries
Digital camera knowledge and techniques improving our photography
OM Workspace, the Enhanced Raw Format, and general photo editing
I am planning to write informative articles on older Olympus cameras

My first two videos for 2024

I uploaded 2 YouTube videos over the past 8 days. They give an overview of my articles on exposure and Workspace and will benefit those who prefer watching a video. I will create shorter videos in the future that will focus on specifics. I am working on my sound quality and will have a solution for my next video. Please subscribe to my YouTube channel and post your thoughts in the comments.

Jan 24, 2024

Color and FX-Blue Chrome effect for Olympus

Last Updated:- 3rd February 2024

Introduction

The illustration below is a screen copy of my Workspace "before/after" display. Study the links below for a description of the Fuji Color and FX-Blue Chrome effects. I combined these descriptions into one beta Chrome Effect for Olympus. The Fuji Color Chrome effects work for all Fuji "Picture Modes," whereas the Olympus Color Adjust function only works in the "Natural" Picture Mode. The final Fuji Chrome Series for Olympus cameras could be 3 chrome profiles. (Color, blue, and combined)

This short article discusses two processes for developing a new profile. Why are the Olympus EP-7 and Pen-F so different? All digital cameras work with global adjustments like saturation, color filters, and White Balance. They require a good understanding of working with Opposite Colors. For example, the Olympus Color Creator and White Balance functions use analogous and/or opposite colors. Only the Color Adjust Tool of Workspace, Pen-F, and EP-7 target specific colors in the image.

Fujifilm Color-Chrome Effect - link

Fujifilm FX-Blue Chrome Effect - link

Olympus Pen F with beta Chrome profile.

Fuji Color and FX-Blue Chrome Effect - Version 1

The unique aspect of this Chrome effect is the steps I used to create the profile. The profile is my reaction to the two articles discussing the Fuji Color and FX-Blue Chrome effects. This can happen to anyone seeing or learning something new and like to express that experience in a color profile.

Download this 1st beta "Color and FX-Blue Chrome.oes" profile. Use the Batch tool in Workspace to open and save the profile on your PC. See my Workspace How-to page for more...

Fuji Color and FX-Blue Chrome Profile.

The Fuji Color plus FX-Blue Chrome Profile is designed for the Pen-F, EP-7, and compatible OMDs. For example, I successfully tried the profile on Raw files from my EM10 II and the original EM-1. Only the Pen F and EP-7 have the Color Adjust function and will accept Color Profiles. The alternative is to apply these profiles via the Enhanced Raw Format to compatible Pen and OMD cameras.

Study the above profile data (summary) and the steps below to tweak the profile:

Use the "Auto" option for your WB, or select a unique WB. (Critical step)
Use Exposure compensation and the histogram to set the ISO brightness.
Use the different Tone Adjustments to tweak the camera's Gamma Curve.
Some Olympus cameras, like the EM10 II, do not have a Midtones Slider.
Use Exposure Compensation for those cameras lacking a Midtones Slider.
The Auto or Normal Gradation option varies your final Tone Curve shape.

Olympus EM1 II with 18mm f1.8 lens - ISO200, f7.1, 1/800. The Enhanced Raw File was converted with the Fuji Chrome Profile.

The Tonal Adjustments in the Camera and Workspace are Gradation, Shadows/Midtones/Highlights, and the Workspace Tone Curve option. Why do we need ISO brightness (EC) and separate Tonal Data Adjustments? Workspace and the camera's Gamma Curve convert the sensor's linear raw data to a human (JPEG) format. Tonal adjustments let us tweak the Gamma Curve in the camera and Workspace. Exposure Compensation (ISO) is part of the camera's Exposure Formula.

Study this article for more on exposure compensation, image brightness, and ISO.

Olympus E-P7 with 17mm f1.8 lens - ISO100, f8.0, 1/200. The enhanced Raw File was converted with the Fuji Chrome Profile.

Use the Color Adjust tool of Workspace to tweak the Chrome effect. I studied the above information from Fuji and converted +/-50 Enhanced Raw Files to create this Beta profile. What is the next step? The next version of the Fuji Color Chrome effect will be based on Color Cards and Test Images from my Fuji XT-5 and the Olympus Pen-F. Mail me your feedback or input for the 2nd version.

An example of using multiple steps. 1. Tweak the Natural Picture Mode. 2. Tweak the Color Style. 3. Image jpeg adjustments.

One could also use multiple steps to create a unique image look. This is a more advanced option because the different steps happen simultaneously. We can add another level with the Luminance and Hue options of the Color Adjust tool. The Pen F and EP-7 do not have these options. The first step is global adjustments (opposite colors), and the second is specific colors. (Adjust Color Function)

For example:

Tweak the Picture Mode via Color Filters and the White Balance.
Tweak the colors in the Color Style with the Adjust Color function.
Jpeg adjustments like Contrast, Saturation, Clarity, Dehaze, and Sharpness.

Olympus Pen-F with the 9-18mm f4-5.6 lens - ISO200, f4.5, 1/1250 - Version 2 of the Color Chrome effect.

Fuji Color and FX-Blue Chrome Effect - Version 2

I used a "controlled" studio, standard camera settings, and Color Cards. Both cameras were in Manual Mode, with the XT-5 at ISO125 and the Pen F at ISO200. That meant I needed to correct the ISO brightness of the XT-5's raw sample in Fuji's X Raw Studio. I exported the different raw images as 16-bit Tiffs. That meant the color samples were ready for Workspace and the Adjust Color tool.

I used these 16-bit samples in the "Compare Multiple Images" display of Workspace. This enabled me to copy the XT-5 "chrome effect" and transfer it to the Pen F color card. The illustration below shows the original and the new Adjust Color Style for my Fuji Color and FX-Blue Chrome effect.

You are welcome to download the new version here. - link

What is the main difference between these profiles? The Color Cards allowed me to create a more accurate version of the Fuji Color and FX-Blue Chrome effect. Only the Adjust Color tool has the new Color Style values. None of the other functions were used to create the new Color Style. This allowed me to use default values for the remaining Camera and Workspace settings. Verify that only the Adjust Color tool was adjusted before you continue to edit the profile in Workspace.

The previous version of the Fuji Chrome Profile was created from the information I found. The profile consisted of a combination of the Adjust Color function and other image settings. As can be seen, this method is not necessarily incorrect. It's simply a creative reaction to general information. The second method is more reliable because I used a different Color Card for each camera.

The new Fuji Color and FX-Blue Chrome effect has a specific Color Style. We only need the color style to apply the new profile. Any other image tweaks, like Tonal Adjustments, are unique to the scene. This makes the new profile very unique. It lets users develop a basic step-by-step process for using the profile and editing images with the new Fuji Color and FX-Blue Chrome effect.

Olympus OM10 II with 17mm f1.8 lens - ISO200, f3.2, 1/2500. Workspace with Version 2 of the Fuji Chrome effect.

More info on the Fuji V2 Chrome Effect? The final profile is not only more accurate, but it is also more user-friendly. How could that be? Workspace has become my default raw converter and editor in the past two years. Workspace and Photoshop cover +95% of my editing needs. I export my converted 16-bit Tiff files to Photoshop. Like everything, the more we use it, the more we learn.

The new profile highlights one of the main differences between Olympus and other brands. Almost all brands use global adjustments, whereas Workspace, the Pen-f, and the E-P7 allow us to adjust global and targetted colors. Targeted colors are unique for Workspace, Pen-F, and the EP-7. What makes it different is that the camera's Adjust Color Style is part of the Enhanced Raw Format.

Olympus Pen-F with 17mm f1.8 and the new Fuji Color Chrome effect.

It's critical to master the main difference between targeted and global settings. The Color Creator is an example of using Global Settings. The Color Creator, White Balance, and Color Filters change the selected and opposite colors. Color profiles created with Global Adjustments need additional steps, like tweaking the Image jpeg Settings. Targeted color profiles are only done in the Adjust Color tool. The resulting configuration defines the new Color Style. That means more freedom to edit and tweak the remaining image (scene) settings because the Color Style stays fixed.

How to use the new Fuji Color Chrome Profile? The first step is studying the above chart. The next step is downloading the new profile. Save it in your Workspace profile folder.

Do the following steps to open and edit your Fuji Color Chrome effect in Workspace:

Open any Pen-F or EM1 Raw file and select the "Load Batch Processing file" option.
View the camera settings in Workspace. You will see only the Adjust Color was used.
The Adjust Color settings show the Color Style. That means you have the right profile.
Study the above chart for tips to tweak and edit your image. Apply small adjustments.
You can apply the following editing steps in Workspace:-

Focus on the critical Raw settings like (ISO) Exposure Compensation and WB.
The next step is to tweak the Gamma Curve with different Tonal Adjustments.
The final step is typical Jpeg Image Adjustments and the Noise Filter selection.

Adjust the Fuji Color Chrome effect (Weak/Strong) with the Adjust Color function.

Olympus Pen-F with 9-18mm F4 lens - ISO200, f4, 1/1000. The Pen-F with the Fuji Color and FX-Blue Chrome effect.

Everyone should try the color samples below to create a Fuji Color Chrome effect. For example, I only used saturation with the Adjust Color function. You could add Hue and Luminance adjustments for a more accurate profile. I used saturation adjustments in Workspace because I wanted the new Fuji Color Chrome Profile ready for my Olympus Pen-F and the EP-7.

Conclusion

The next step is taking a few images with my Fuji XT-5 and Olympus Pen-F. This is the best way to test the new Fuji Color and FX-Blue Chrome effect for Olympus. The challenge is the winter season, with poor conditions and cold photo walks. That means my final testing will wait a while...

Best Regards

Siegfried

Olympus EP-7 with 17mm f2.8 lens - ISO200, f5, 1/200. The EP-7 image with the Fuji Color and FX-Blue Chrome effect.

Use these Color Samples and Workspace to create your Chrome Profile.

Jan 6, 2024

The 4 things that could improve your Image Quality

Last update:- 22nd January 2024

Introduction

Many social media presenters introduced 2024 with a list of photography essentials. While having good intentions, it's surprising to see how well-known influencers repeat incorrect information.

This inspired me to review the following talking points and introduce a new technique:

"Focus" on the subject, and don't let the background or DR distract you.
Exposure Triangle - Replace "ISO Sensitivity" with "Image Brightness."
Discard all "size and capture" theorists explaining image sensors/cameras.
Knowledge and regular practice are +50% of what makes photography fun.

EM1 III w Lumix 35-100mm f2.8 - ISO200 (400), f8, 1/640. ISO400 plus ETTR (+1EV) gave me a +/-2EV brightness variation. See the article.

Imagine you are photographing a blue hour or city scene at night, and it's possible to adjust the image brightness just enough to get more details from street lamps and/or restaurant/shop windows...

How did I take the images below? I used a technique that control the sensor and ISO separately. That means I independently manage my sensor's saturation and the ISO (image brightness).

Figure 1.

1. Focus on your subject, and don't let the background distract you

I am a keen follower of the Danish photographer Thorsten Overgaard. I like his work, enthusiasm for Leica cameras, and passion for photography. Thorsten discusses 4 essentials that could improve your photography in 2024. Many presenters and photographers assume the ISO function on digital cameras is similar to film cameras. Folks, the ISO function does not adjust the sensor's sensitivity.

Watch Thorsten's video for more on his 4 essentials, like focusing on the subject...

2. Remove ISO Sensitivity from the Exposure Triangle

The best way to think of your ISO function is to view it as an in-camera brightness slider. The image sensor and ISO amplifier are separate components. The sensor's sensitivity is measured and adjusted at the factory. This is a once-off and permanent adjustment that prepares the image sensor for use with digital cameras. The ISO function simply amplifies the image signal from the sensor...

Study this article for more details.

Why is the "Digital Exposure Triangle" different? It allows us to improve our tonal (image) data. The ISO "sensitivity" theory limits our ability to manage the sensor's saturation. This and a lower Dynamic Range are why "experts" say ETTR isn't safe at higher ISOs. This article focuses on the benefits of having a saturated sensor and using the ISO as a brightness slider (image signal amplifier).

EM5 II & 7-14mm f2.8 lens - ISO800, f2.8, 1/250. The Advanced Raw File was converted in WS. The new ISO technique will benefit this photo...

The information below applies to all digital cameras:

The Shutter and Aperture are responsible for exposing the sensor.
The ISO function only amplifies the image signal from the sensor.
This doesn't mean the ISO is not part of the camera's exposure calc.

Consider this when you set your camera's exposure with the Digital Exposure Triangle:

Reflected light (Shutter Speed and Aperture) controls the sensor's saturation level.
More reflected light saturates the sensor. This improves the SNR, which decreases noise.
Less reflected light decreases the Saturation/SNR. A smaller SNR increases visible noise.
Study the Photons to Electrons conversion graph in one of my previous articles - link.

This brief summary explains why ALL digital cameras have visible noise at lower SNR values...

EM1 MKI & 12mm f2 lens - ISO1250, f2.0, 1/25. The Enhanced Raw File was converted in WS. These scenes benefit from the ISO technique.

3. Avoid any "size and capture" theorists explaining digital cameras

The left photo in Figure 1 is the JPEG from the EM5 II, and the one on the right is the converted and adjusted raw file. They're an expression of knowing your camera and Workspace. They are NOT the result of AI, computational photography, a LUT, or advanced image editing. Photographers in Group A will typically complain about the EM5's small sensor and its low dynamic range, and those in Group (image) B will discuss new ideas to improve their knowledge and technique?

Olympus EM5 II & 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/500. The new ISO technique lets us control any highlights in the above scene.

4. Knowledge and practice are +50% of what makes photography fun

How did I create Image B (Figure 1)? I separately optimized the sensor from my ISO. Image quality is a function of sensor saturation, and image brightness is a function of the ISO, Gamma Curve (camera and WS), and Workspace (Exposure Compensation). The EM5 II is known for its image quality and the sensor's smaller noise floor. The DxOMark "Low-Light ISO" rating gives us a safe range to tweak our highlights in the camera and Workspace (WS). (1 to 2 stops are all we need)

This new technique consists of a few basic steps. The Image brightness can be adjusted in the camera or Workspace while the sensor is saturated. We can also use Gradation, Highlights/Shadows, and/or the WS Tone Curve to tweak the Enhanced Raw File's Gamma Curve in the camera or Workspace.

Olympus E620 w 12-60mm f2.8 Lens - ISO100, f8.0, 1Sec. 3 AE bracketed raw files were converted and edited (HDR) in Photoshop.

Are there other ways to create Photo B? Absolutely. I used this method to show the camera's sensor and ISO function. Some will say the EM5 II is ISO Invariant. Folks, the "size and capture" theory and "ISO Invariance" are marketing theories. Those pushing them can't clearly explain the origins of image noise (SNR), the sensor's noise floor, or why only "some" sensors are "ISO Invariant."

Here are the steps I used to create Image B:

Image A. The sensor was exposed (f4.0 and 1/25) at its base ISO200 (Auto Exposure).
The DxOMark "Low Light" Sports rating showed I could safely vary the ISO with +/- 2EV.
That meant the camera's "highlight" exposure settings should be f4 and 1/100 at ISO800.
I manually used ISO200, f4, and 1/80th shutter speed @ 20% ETTR (+/- 2EV highlights).
ISO200 gave me control over any clipping highlights with the camera and Workspace.
I applied my final ISO (brightness) adjustments via the Enhanced Raw File & Workspace.
With regular practice, it's also possible to edit the Gamma & brightness in the camera.

Olympus E410 w 14-42mm lens - ISO400, f13, 13 Sec. The highlights and general IQ of the E-410 will benefit from this ISO technique.

It takes time to visualize and create new techniques. It improves our experience in problem-solving, Olympus Cameras, and Workspace. For example, the concept of ALL sensors having a noise floor is part of this technique. It's only possible to control any clipping highlights with an optimally exposed sensor. I experienced no increase in noise for Photo B (ISO200, -2EV image) or the image below.

Here is another method to create Photo B (Fig. 1). Olympus cameras automatically vary the sensor's saturation level with AE Bracketing. That means the camera doesn't change the ISO in AE bracketing mode. Use ISO800 and the "2f 1.0EV" bracketing option to take 2 photos. Manually take another image at ISO200 (-2EV) and the 20% ETTR aperture and shutter values. Do your final Gamma Curve and image brightness adjustments in the camera or Workspace.

Olympus EM5 II w 7-14mm f2.8 lens - ISO64, f7.1, 1/125. ISO64 helped me to up the SNR and saturate the sensor.

Conclusion

Modern digital cameras and mobile phones are great products with excellent Image Quality. While AI re-uses (copies) almost anything someone else puts on the web, the difference is those who step away from reckless marketing theories, master their digital cameras, and practice frequently.

This article showed the value of knowing your digital camera. It enabled me to control the clipping highlights while managing the sensor's SNR independently. This ISO technique is designed to benefit from the DxOMark "Acceptable Image Quality" rating, meaning I will have a minimum Color Depth of 18, a DR of 9EV, and an SNR of 30db (no ETTR) at ISO800. My ability to prioritize and select/edit older RAW files benefited from my ISO, Sensor Saturation, and SNR (visible image noise) knowledge...

One final example of timing, compositions, and complex exposures.

Alex Nail is a great landscape photographer. He took a group of photographers into the Drakensberg mountains. The vegetation in this mountainous region brought back memories of my Heimat, South Africa. Image quality is not only a function of your camera because all digital cameras have unique strengths and weaknesses. The joy of photography is mastering your camera's limitations...

Sep 11, 2023

Top Intel iMacs for Photographers...

Last updated:- 15th September 2023

The kind of iMac and processing power you need are regulated by the software applications plus AI features you have. See this article and my Workspace Update Page (firmware) discussing why I upgraded my iMac. Being in the market for a new PC, I quickly realized I needed more time to find the right photography solution. It's impossible to configure a good photography solution with the technical and advertising information from Apple. I used this website as a technical reference.

Apple upgraded their iMacs in 2014, 2015, 2017, 2019 and onwards. After much research, I decided to look for an Intel 4-Core i7 (4.2GHz), 5K display 27", 64GB (2666MHz DDR4) RAM, AMD Radeon Pro 580 Graphics (8GB), an SSD hard drive, and similar ports as my old iMac. I learned how secondhand iMacs are the best way to find a photography configuration for under $900.

Higher rating i5 or i7 Processors with 4GB and higher graphic cards are enough for most photography applications. It was expensive to increase the RAM memory when these iMacs were new. For example, users could add more RAM memory on pre-2017 models after receiving the iMac. These RAM modules are now available at a fraction of the original Apple pricing.

Used iMacs are great business opportunities for those trading in secondhand computers, and patience is the best advice for those purchasing a used iMac. The safest option is to work with official Apple dealers or target the owners directly. Apple has excellent info on its support site. For example, what should one verify when buying a used iMac? I created a list of questions I asked before making an offer. This made it possible to cancel if I found any issues while collecting a used iMac.

What about 4K video editing and converting large numbers of RAW files? Each photographer needs to be specific on what they need. For example, you don't need 4K editing if you are new to video. As high as 95% of homemade videos are perfectly good at 1080P. My "new" iMac edits and renders 4K videos. Processing 4K videos versus 1080p means significant performance increases. 4K videos also use 4 times the pixels as 1080p recordings, and most viewers won't spot the difference...

Buying a secondhand iMac was a process of making compromises. For example, the 2020 Intel i9 Pro iMac is great if you are ready for the expense, whereas the costs decrease on older iMacs, while the risk of a burned-in display increases. These older Intel iMacs are excellent PCs and perfect for those on a budget. The key is preparation and patience when buying or collecting a used iMac.

Any of the above examples are excellent photography solutions, and the i5 iMacs with 4GB graphic cards are great photography alternatives. For example, the 2015/17 (i5/i7) iMacs with 4GB or 8GB graphic cards became my Performance/Cost favorites. Study the i5 details right above the i7 line on this website. This site has more technical information to help you specify your used iMac.

Conclusion

Why not a 24" iMac with an M1 or M2 Apple Processor? I bought the 2017 Intel iMac (above spec), which consistently outperforms my Macbook Pro M1 with 16GB RAM. I photograph almost every day in the summer, and I have been editing my Enhanced Raw Files on my Intel iMac and Macbook M1 Pro. Interestingly, the older i7 Processor outperforms the M1 Processor with Workspace, Photoshop CC, iMovie, Final Cut Pro, PhotoLab 6, and the different office applications I have...

The 27" display is also fantastic for video or photo editing. I often process the same images on my iMac and Macbook Pro. The MacBook Pro cannot compete with the larger display of the iMac. My wife tried my 27" iMac 2013 but preferred her 2012 Mac Mini with the 24" Apple Cinema Display. The final PC configuration you select should work for YOU...

What about Workspace? I am satisfied because the "new" iMac made a huge difference. Workspace, Photoshop, and Photolab are quick, and I experienced no negatives. My only concern is the high level of access some applications request during the installation. Fortunately, it's possible to manage the level of access these software applications receive. It pays to carefully configure your iMac...

Don't let promoters confuse you to spend way too much...

Best

Siegfried

Apr 30, 2023

How to use the Olympus Gradation Function?

Last Update:- 12th June 2023

1. Introduction

The computational features from Olympus are well regarded by those who use them. Unfortunately, many Olympus photographers will never experience the benefits of computational photography or the broader application of functions like High-Resolution Imaging and the Gradation function. The main reason is cleverly designed counter-marketing filters.

It doesn't need much to see the Engineering Team at the old Olympus Imaging Business was at least 10 years ahead of its competitors. The EM-5 MKI is a 2nd generation mirrorless camera with a 5-Axis IBIS solution for both stills and video. Canon and Nikon designed and sold DSLRs like the 60D, 5D3, D800, and D5200 when Olympus introduced the EM-5 with more Creative Color features.

Olympus EP-7 with the 45mm f1.8 lens, Gradation = "Auto." These Enhanced Raw Files were converted and edited in Workspace.

We reviewed the importance of SNR and sensor saturation. For example, how do we get more light onto the image sensor? Should we increase the ISO, use a flash, or adjust the Aperture/Shutter? We discussed ISO amplification and the role of the Aperture and Shutter. We will use this information to learn more about Olympus cameras and the Gradation function.

TIP: View the images on a large screen and study the descriptions...

EM1 III with the 12 - 45mm f4.0 Pro lens - ISO200, f5.6, 1/1.16Sec, +0.7EV - The focus stacked OOC image was edited in Workspace.

My lovely wife bought flowers, and I created a small studio for my EM1 III, tripod, large diffuser, and Rotolight Neo 2. Did you know the Gradation function changes your exposure values? Experiment with the 4 Gradation options and watch your camera's auto-exposure values change.

A focus-stacked ISO3200 example. I used 4 (bracketed) Enhanced Raw Files and applied the AI noise filter before stacking them in Workspace.

I will discuss the following:

Introduction
Why is the Gradation High option interesting for ETTR?
The three reasons why photographers use ETTR in 2023
Practical discussion on using ETTR with Olympus cameras
A brief overview of noise and the Olympus Noise Filter...
Conclusion (See my thoughts about the EM1 III and XT-5)

The Pen F and 17mm f1.8 lens (Edited version). I selected Gradation High in my Pen F and Normal to "color grade" the Enhanced Raw File.

2. Why is the Gradation HIGH option interesting for ETTR?

The Gradation function has 4 tone curves (Normal, Auto, Low, and High). The EM1 III U/M says it makes tiny adjustments to the camera's tones. See the user's manual for a description of each.

I have been using the Gradation function more frequently over the past year. For example, the Auto option is used to edit the image (raw + jpeg) with the camera or Workspace. I also use the Highlights & Shadows sliders to fine-tune the camera's Tone Curve. It's possible to simulate these "camera" settings in Workspace? In a previous article, I said the Gradation function should be great for ETTR. This article explores the Gradation High option for ETTR.

I often experience the WOW factor as I learn more about the Computational Features from Olympus. We can compare the Gradation "High" option with a V-Log profile and "Normal" to Color Grading. I tested this on my EM1 III with the Gradation "High" option and "color grading" via the Enhanced Raw File and Workspace. It's now possible to use ETTR without much effort.

Why do I use Midtones to adjust the final brightness of my image? Because it preserves my Neutral Gray values. Neutral (18%) gray mean the camera's colors are accurate. The exposure compensation slider adjusts the camera's Neutral Gray values. (Ref. the Zone System) This is why it's good to use the exposure and mid-tone adjustments separately. Does this also apply to ETTR? Yes, it's best to correct any ETTR over-exposures with the exposure compensation slider...

Did Olympus improve the Gradation function (Tone Curves) over the years? They said they did in the EM-5 launch documents. I didn't verify the more recent cameras...

The unedited OOC jpeg version of the above image with Gradation set to High. I used the Gradation function for ETTR.

3. The three reasons for using ETTR in 2023

Here are the 3 main reasons for using ETTR:-

Cameras do not saturate the sensor in Auto Exposure mode

The reason is a built-in DR safety margin for Auto users...
These safety margins impact your shadow details & noise
ETTR enables photographers to saturate the image sensor
How did I learn this? Knowledge and an unfiltered mindset

ETTR helps us to improve the sensor's Signal to Noise ratio (SNR)

The visibility of the sensor's noise floor increases at lower SNRs
Upping the SNR means the sensor's noise floor becomes less visible
ETTR is especially effective in the shadow areas of the image

ETTR improves our tonal data in the shadow areas of the image

Sensors are linear devices with less tonal data in the shadows
ETTR shifts the tone curves to the right to record more data

See this article about exposure, gamma curves, and tonal data...

4. Practical discussion on ETTR and Olympus

The Gradation function is one of the several computational functions from Olympus and a powerful option for ETTR. The HIGH option automatically saturates the sensor without clipping the highlights (EM5 Press Release). That means Workspace, the Enhanced Raw Format, and the Gradation High option let us increase the SNR, saturate the sensor, and shift the camera's tone curve to the right. We reset (color grade) the HIGH option with the Gradation NORMAL option in Workspace.

The resulting 16-Bit Tiff file from Workspace has a higher SNR, more tonal data, looks like a regular image, and offers more flexibility when we edit the converted 16-bit Tiff file in Photoshop.

Here are a few practical Tips:

Our goal is more light on the sensor (camera settings, time of day, and flash)
It's critical to be clear about the ISO's role versus the Aperture/Shutter Speed.
Use a fixed ISO value to prevent the camera from amplifying the image signal
Never disregard the importance of using a flash to add more light to the sensor
It's always good to set your White Balance manually. (Not critical for ETTR)
It helps to create a flat profile with Highlights/Shadows for Gradation High...
Experiment with your Histogram Settings and use the Histogram with ETTR.

Olympus Pen F with 45mm f1.8 lens - ISO1600, f7.1, 1/8 Sec - Converted and "color graded" in Workspace, no noise reduction.

Experiment with the Gradation High and Highlight/Shadows functions to create your "ETTR" camera profiles. A flat Tone Curve means negative values for Highlights and positive for Shadows, like Highlights -3 and Shadows +4. Always use the same principle of creating a Tone Curve in the camera and "Color Grading" (resetting) in Workspace and the Enhanced Raw File. "Color grading" Olympus Tone Curves do not mean opposite values like we typically do with V-Log Profiles. It simply means returning the camera's settings to their default values. The Enhanced Raw File allows us to reset the image to Neutral Gray in Workspace.

Raw Converters use a fixed Gamma curve (profile) to enable us to view the data. The older software Viewer 3, had a Gamma setting to change the profile's shadows, midrange, and highlights. Consider the Gradation and Highlights/Shadow adjustments as "Pre-Gamma" or Tone Curve adjustments in the camera. It's possible to Color-Grade or use them as Pre-Gamma adjustments.

The Gradation and highlight/shadow functions let us create flat tone curves or edit the image look. Always ask yourself, how can I get more light on my sensor, and what should my final image (jpeg) look like? This is why we use the aperture/shutter or exposure compensation to adjust the exposure (light) and the mid-tone function to adjust the look of the image with Workspace or the camera? The Enhanced Raw Format allows us to access almost any camera setting in Workspace.

The Olympus FL300R needs almost no space.

Does Color Grading change any of the ETTR benefits? No, the recording happens in the camera, and the ETTR benefits are part of the final image. Workspace does not add or remove any light from the sensor. That's why it's only possible to simulate the ETTR function in Workspace.

"Color Grading" means the camera values are zero in Workspace. That means we will change the camera settings, Shadows +5 and Highlight -5 (flat tone curve), to zero in Workspace. Experiment by applying "ETTR" with the camera and Color-Grading the Tone Curve in Workspace. Take the time to practice using your camera's Exposure Meter and the feedback from the Histogram.

Did the noise disappear in the above illustration? No, the size of the sensor's noise floor stays the same. We only improved the SNR, which means the noise floor became less visible. Should reviewers say smaller sensors have more noise? Absolutely not... ALL sensors have a noise floor...

The Olympus XZ-2 is a great compact camera. I prefer to get my info from manufacturers and don't trust camera reviewers or photography forum experts. My research and knowledge of digital cameras are also a great help. Discovering the XZ-2 and the satisfaction of using great oldies like the XZ-1 and the XZ-2 is exhilarating. The XZ-2 uses a BSI sensor, and the XZ-1 a CCD sensor.

Olympus Stylus XZ-2 - ISO100, f4.0, 1/500 - The Gradation Auto option in the camera and color-graded in Workspace.

The EP-3 is another oldie and an excellent camera. I took my EP-3 with my 12-50mm lens for a late afternoon walk with the dog. The XZ-2 and the EP-3 are compatible with the VF-4 Electronic View Finder. My XZ-2 was set to Auto Gradation in the above image.

I typically use 2-steps to convert and edit my Enhanced Raw Files. I select and edit my camera settings in Workspace for step 1, and the focus is specific or advanced image editing in step 2. Advanced editing can be done in Workspace or something like Photoshop. For example, I used the Gradation Auto option, Highlights/Shadows, and Tone Curves to edit the image below. We only need Step 1 or the converted 16-Bit Tiff file to post-process the image in Photoshop.

The EP-3 and the 12-50mm lens - ISO3200, f5.2, 1/80 - I converted the Enhanced Raw File with WS (Noise Filter = Low) and tweaked it in Photoshop.

The EP3 raw file was converted with PhotoLab 5, and I used DeepPrime (AI Noise Filter). The final image was edited with Photoshop.

5. A brief overview of image noise and the Olympus Noise Filter

Olympus photographers should experiment more with the Olympus Noise Filter. The main reason newer camera models have less noise is a smaller noise floor in modern sensors, more sensitive sensors, and more processing power like the Pen EP-3 and EM1 III. DxO PhotoLab became my benchmark to rate the Noise Filter in Olympus cameras and Workspace. The PhotoLab "Prime" option is enough for my general photography needs with the PEN, OMD, and XZ-2. I only use DeepPrime for extreme cases. It's possible to cancel the Olympus Noise Filter in favor of the PhotoLab noise filter...

Olympus cameras and Workspace use excellent Noise Filters. The Workspace AI option is enough for any challenging situation with the EM1 II/III or the OM-1. The default Olympus Noise Filter setting is "Normal." I prefer the "Low" option for my Olympus cameras. One can always use the Enhanced Raw Format to select the Standard or High options in Workspace. I rarely use the additional two sliders in the Workspace. Study this article for more on image noise and image sensors.

I used the Gradation "Auto" and Noise Filter "Low" options in the image below. I was surprised by the excellent DR and IQ of my Pen EP-3 and the XZ-2. The Pen EP-3 is a surprisingly good camera with all the marketing filters removed. For example, always start with the Official News Releases from Olympus if you like to learn more about Olympus cameras. See the Stylus XZ-2 News Release.

The reason for the little shadow noise (image below) must be a small noise floor in the XZ-2, plus the SNR was high at ISO100. Shadow Noise, or the visibility of the noise floor, increases at ISO800. The size of the sensor is irrelevant when I use my camera. I am only thinking about the available light at the sensor, any Tone Curves I like to use, and optimizing the SNR of my image signal...

Olympus XZ-2 - ISO100, f4.0, 1/400 - ND filter ON.

6. Conclusion

Marketers mislead photographers with statements like "Workspace is just another raw converter." Why shouldn't we compare Workspace, Lightroom, ON1, and Capture One to Workspace? Because these Raw Converters cannot simulate your Olympus camera settings. It's not the first time Marketers used false information to distract photographers. Micro Four Third cameras are some of the most filtered products in 2023. How many photographers are familiar with the Color and Creative Strategy from Olympus and how Olympus showcased it with the E30, EM5 MKII, and Pen F?

Folks, we don't need ETTR for good results with M43 cameras. Knowledge gives us an overview of photography. Knowledge empowers photographers to improve their image quality, and knowledge is a light casting different perspectives on the misleading filters from marketers...

I am working on an article for the EM1 III and the Fuji XT-5. Do we compare only IQ, or should we do more? For example, while focus-stacking with my EM1 III, I tried computational ETTR techniques plus processing an 80MP High-Ressolution image in the camera.

Considering this unique level of computational flexibility from my Olympus EM1 III, Workspace, and the Enhanced Raw Format, how should I plan a balanced and factual comparison between the EM1 III and something like the Fuji XT-5? Both these cameras are good but also radically different...

For more on Creative Color and Computational Photography, see this article.

Take care and God's Bless

Best

Siegfried

A few casual images while walking the dog...

The images below are from my Pen EP-3 and the 75mm f1.8 lens. I didn't do anything special for my camera settings. The images benefited from converting the Enhanced Raw Files in Workspace. I used the adjustments below on all the raw files and exported them as 16-bit Tiff files to Photoshop.

Older 12MP sensors have more noise (large noise floor) than newer M43 sensors. The skies were known for visible noise from these older cameras. The Noise Filter "Low" option was enough to clean the skies without losing details. It helps to manage older sensors with the SNR-to-ISO ratio.