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

ISO Low, L100, L64, and Flash Photography - Part 1

Last update:- 16th January 2023

While working on Part 2 of this article on ISO and Image Quality, I thought it was a good idea to set the stage with a few random thoughts and a basic challenge. Thinking about it, every photographer should develop the ability to analyze digital images. A good understanding of the digital camera and the ability to apply this knowledge benefits all digital photographers...

Taken at a constant luminance perspective and a variable image signal amplification

Taken at a constant image signal amplification (ISO3200)

You are welcome to try the following challenge. Place an A4-sized white paper against the wall and your camera on a tripod. The challenge is to recreate the above 2 illustrations. The info needed to create a basic plan, take the images, and build the final illustrations, is all in this article.

Olympus Pen F with 25mm f1.4 Leica, ISO80(Low), f3.5, 1/1600 - Edited in DxO PL-4 (See more info further down...)

Here are a few general questions for you:-

• Prep a short explanation of what happens inside the camera for each illustration
• Think of a few examples and list the benefits of knowing your digital camera...
• Why do you think it's safe, or not safe to use the ISO Low, L100, or L64 options?
• Most social media experts tell us it's not OK to use ISO Low, L100, or L64, why?
• Which of the 5 images in each of the above illustrations are 18% gray samples?
• What is the link between the Zone system, 18% gray exposure, and the ISO setting?
• Study the photons/electrons graph below. Does it apply to all or only some sensors?

For more on how to plan your own strategy, study these articles:

• Start from basics and learn how to record more image data - link
• A better way to control the camera is the 2 Step Exposure Technique
• Why is sensor sensitivity so important? - article (Important info)

A few general thoughts...

The reason photographers should distrust any sensor size references is it's normal for digital cameras to have image noise. What determines this image noise? Most photographers are never told that all sensors come with a native noise floor. Should we trust those reviewers who promote sensor size or write biased camera reviews? This is likely the main reason we don't see discussions about advanced digital photography techniques, like how to use ISO amplification correctly, or how to manage the performance of the Image Sensor. (See this link)

For example, why was the old-school Exposure Triangle never improved? Especially while it's used to train photographers on digital photography? How will they ever master advanced digital camera skills like SNR, sensor saturation, or image signal amplification with an outdated triangle? 

Is size a reasonable measure for IQ? We know pixel area (size) is one of many variables to impact the Optical Efficiency of the image sensor. So why focus on only one of many variables? Well, looking for answers is like finding a needle in a haystack. A more reliable way of rating image sensors seems to be Sensor Sensitivity (Optical and Quantum Efficiency).

To illustrate the oversimplicity of the "size and capture" theory, study the illustration below. This illustration offers more information about the image sensor, the noise elements in the sensor noise floor, and the effective dynamic range of the sensor. Other than the "size and capture" theory, which cannot explain shadow noise, those who master the principles illustrated below will have a strong theoretical foundation. They will improve their analyzing and sensor performance skills.

For example, take a moment and consider the graph below. The horizontal axis is the reflected light or photons hitting the sensor. The vertical axis represents the converted electrons. The sensor's full saturation capacity is reached with a fully exposed sensor. Plot the saturation for shadows or low-light scenes. How does this impact the performance of the image sensor? What happens to the SNR in the shadows? What does the histogram look like for an under-exposed sensor? These are simple questions every digital photographer should be able to answer...

Does the size of the sensor backplate "capture" photons? The answer is NO! We know pixels capture photons and pixels (photocells) convert photons into electrons. This is the main reason why scientists improve pixel (photocell) sensitivity and why they don't design bigger sensors. That said, the size of the sensor does play a role. Any idea what? Think of image effects like background blur.

 

Olympus photographers are familiar with 12MP or 20MP (MFT) sensors. The pixel diameter of 12MP sensors is almost double that of 20MP sensors. We know the EM1 III has one of the most sensitive M43 sensors and delivers far superior IQ to any of the older 12MP MFT sensors. Ever wondered why? Could one of the reasons be, that sensors with lower Temporal Noise have cleaner images? 

Study DxO Mark results for the EM1 II sensor.

The more we learn, the more we see what happens with image quality...

Another illustration with info on how to manage the sensor at ISO3200.

Let's talk about the physical size of mirrorless cameras? The size of the image sensor influences the physical size of the camera? The reason is the lens image circle needs to cover the full sensor. This impacts the size of the lenses, the camera energy needs, heat management, and the effectiveness of features like IBIS. Digital cameras are basically built around the image sensor. The penalty for cutting corners is overheating, lower efficiencies, and less reliable cameras and lenses. 

Separately from any fixed mechanical design criteria, scientists focus on materials and the electrical design aspects of creating more sensitive image sensors. This represents a better way of designing new cameras and improving Sensor Sensitivity. For example, typical improvements in image sensors include replacing older wired functions with modern software or AI solutions... 

As you know, Olympus and Panasonic were the first to introduce mirrorless cameras. Did they also establish the mechanical design benchmark for mirrorless cameras? For example, what is the built-in safety margin on M43 cameras? When you see similarly sized APC or FF cameras, does it mean the M43 camera is over-designed, or are these APC and FF cameras under-designed?

How much image noise is added to the noise floor for each 1-degree increase in temperature..?

Try this quick experiment and point a light source to your PC. Which of these sensors is receiving more light?

If someone says one sensor captures more light than the other, then I cannot help to think, is this statement theoretically correct? I was searching for information when I saw this review. I could not help asking, is this just another Undisclosed Promotion? What if the "more light" benefit was only 0.0002% while those bigger sensors were 10% less efficient? One would like to think, it's all about the efficiency of the sensor when converting photons into electrons, right?

See this discussion. It's a great example of why photographers should push manufacturers for better information. Also, do a quick search on the implications of "Undisclosed Promotions"...

Final comments on the two images in this article

Take a look at the 1st image in this article. I have set the exposure for the bright areas (sky). I wanted the sky with darker shadows. At home, I did a quick test to study the visible shadow noise when I increased the shadow brightness. Editing the raw file in PhotoLab 4, it was possible to extract cleaner image details from those same shadows. Does that mean the image had enough available information in the shadows or is it only PhotoLab doing a great job?

The above example shows the jpeg on the left and the edited raw version on the right. The image was exposed for the shadows, which over-saturated the sensor in the bright areas. It did not clip the highlights while pushing them hard. I tried different editing techniques to get the most from this "data-rich" raw file. The most pleasing result was editing the raw file with Aurora into an HDR image. Did I push the image sensor too hard, or is it OK when we push the image sensor?

The selected images demonstrate the different technical aspects discussed in this article plus it shows it's safe to work with ISO Low on your Olympus Pen F. The same is true for ALL cameras. Don't we benefit more from working with a fully saturated sensor and resetting our final image "brightness" in Workspace? Why is there a link between the camera (Live View) and Workspace? Why sensor size and then push restrictions like don't use the extended ISOs on your M43 camera..?

More about Managing your Image Sensor and ISO Amplification in Part 2...

Finally, what's better, exposing creatively, or saturating the sensor?

Lensbaby and Olympus Creative Functions

Last Updated:- 25th October 2022

Introduction:

I believe M43 photographers are generally well-informed and eager to explore their digital cameras or the pros and cons of using different types of image sensors. This is why I like to share information when I discuss digital cameras. For example, we studied a basic block diagram of the camera, the evolution of sensor sensitivity, and the various aspects of reflected light. We also looked at concepts like Managing your Exposure Mix or Saturating the Image Sensor. 

This means we studied the different ways of managing the reflected light exposing the sensor or the efficiency of the image sensor. We also looked at the differences between creativity and image quality and how to apply the best exposure mix for either creative or maximum image quality.

For more about the above, see:-

• For more about managing image sensor performance - link

Index for this Article:-

• Introduction
• The Lensbaby Composer
• Secondhand Cameras and the Olympus E-30
• The Olympus Live View function
• More about Creative ART Photography
• All the images and descriptions can be used as examples

Olympus E-PL7 with 9-18mm f4.0 lens - ISO200, f5.6, 1/640 - Jpeg edit in WS with Pen-F 1020 Color Profile and Keystone

We also discussed Art filters, Color concepts, and Creative photography while reviewing the Olympus Color Creator and Color plus MonoChrome Profiles. We learned how to create and apply Color Profiles and started the Workspace How-To page. We studied WorkSpace and how it simulates the TruePic Image Processor with the same camera settings as your Olympus camera. 

• You will find my WorkSpace How-To page here, 
• And my different Pen-F (and E-P7) Profiles here. 
• This article about editing with Workspace here

I talked about the creative strategy Olympus introduced in 2006 with the E-330. Tracking the strategy, it seems like it coordinated R&D priorities and the creative and computational features from Olympus. For example, the E-330 was the first DSLR to offer Live View, and the E-30 was the next step in terms of creativity and the future of Live View. Each camera after the E-30 added more specifics to the creative roadmap Olympus introduced with the E-330.

Olympus EM5 II with Composer Pro - Raw edited in WS with Color Creator, Shadows/Highlights, and Vignetting

Our next challenge is reflected light or luminance and how to control it. I cannot help to think of analog photography when I discuss reflected light. For example, should we take a new look at flash photography and how to manage light in future articles?

This article studies the Lensbaby Composer and how it modifies reflected light. This is only one of many ways to add another layer to your photography experience with Olympus cameras...

Taken with the EM1 II and 45mm f1.8 - I specifically controlled the light using only one FL600R flash

The Lensbaby Composer

When I finished my "1020" Color Profile in June 2021, my thoughts drifted to my Lensbaby Composer with the "1020" color profile. What a surprise when I tried the 1020 color profile with my Pen-F and the Composer. They proved to be an exciting and engaging combination.

This encouraged me to spend more time with my Lensbaby Composer, and from the images, one could see this was a good option for doing ART photography. In addition, more recent Olympus cameras have more freedom in terms of creativity, WorkSpace, and the "Enhanced Raw Format".

One of the challenges I have with my Lensbaby Composer is its physical diameter when putting it on my OMD camera. For example, I cannot put the Composer (Tilt Transformer) on my EM1 II. The Pen-F is OK with the older Composer because it doesn't have the OMD Viewfinder hump.

Taken with the Pen-F and Composer, using the New "1020" color profile - used as a display background image

One of the mistakes photographers make is to use the Composer with photo walks. The secret is a slower pace when photographing with something like the Pen-F and the Composer. It's best to relax and focus on your surroundings during the unique creation process of the Composer.

I found it becomes easier to work without a tripod when I use my Composer more frequently. It could be the Twist 60 add-on I use with my Composer. This is truly a unique way of ART photography and I highly recommend this type of Art Photography...

The next considerations with something like the Composer are image editing, sharpening, manual focusing, manual exposure, and selecting the right settings for your Composer. For example, which ART filter complements a particular image, editing, or photo style?

Olympus EM10 MKIII with 17mm f1.8 lens - ISO100, f11, 1/60 - Normal and Pop Art converted Enhanced Raw Files blended in PS

It's fun to see the hypercriticism when mentioning ART filters. We don't see that with Adobe features like the new selection tools for Photoshop 2023. Instead, we have photographers exploring these new features. Why should it be different for Olympus? For example, most photography sessions start with planning, selecting the right settings, framing, and taking the image. Like Photoshop, none of these steps are identical between images. Is your histogram or ART filter only good for one thing?

That's why I like the idea of avoiding camera reviews and photography forums. It takes a little practice and out-of-the-box thinking to apply your Olympus ART filters in many ways. For example, the above example was created from 2 images which I converted from the same raw file in Workspace... 

Pen-F with Composer - taken with the new "1020" Color Profile and changed to the Diorama ART filter + frame in WS

Secondhand Cameras and the Olympus E-30

I discussed the growing supply of secondhand cameras in one of my previous articles. For example, while scouting our local sites, I found an E-30 at a good secondhand price. I tried the E-30 shortly after its launch in 2008, but having the E-3, I decided not to get the E-30.

I recall enjoying the E-30, the new ART filters, and the good image quality of the E-30. I went back and studied my E30 test images before buying it. It's interesting how Olympus evolved from the E-30 to the newer OMD and PEN models. I added a few of my E-30 test images to this article...

Olympus E-30 with 14-54mm f2.8-3.5 - ISO100, f7.1, 1/320 - Jpeg edited in PS and Luminar 4

The Olympus Live View function

It's good to know how Olympus implements the Live View function. One of the more interesting aspects of Live View is the Creative Features from Olympus and how they use Live View to track the changes in the image. This differentiates Olympus from other camera manufacturers.

For more on Live View, see this article.

The Live View image on your camera display or EVF is basically a replica of what is happening on the image sensor. The only difference between the raw sensor data and the image on your camera display is the "Display Profile" decoding the raw sensor data. For example, we can add another layer of our own settings to the raw sensor data. The result is a new kind of Enhanced Raw Format which enables us to replicate this layered camera "Live View" file in WorkSpace.

E-520 with 14-42mm Kit Lens - ISO100, f5.6, 1/100 - Raw file edited in PS. Easy edit to preserve the Olympus look and colors

The reason I discuss Live View and WorkSpace is simple. Your Olympus Live View function plays a key role in the image creation process because it was designed to assist the Olympus photographer with a better "window" into the image creation process inside the camera and WorkSpace. 

That means your creative photography or Enhanced Raw File conversion (editing) experience benefits when you learn how to work with Olympus Live View in your camera and Workspace...

Olympus Pen-F with Composer and Tilt Transformer using my new "1020" Color Profile

In fact, the creative features from Olympus are so good, that it's very difficult to get the same results when processing Enhanced Raw Files with other raw converters. Add Workspace to the mix and the ability of Workspace to replicate the camera settings, and it's even more difficult to process raw files with any of the more popular raw converters. (See the E520 example further down)

I do have Photoshop and like to edit my 16-bit Tiff Workspace files with Photoshop. This gives me the best of both worlds. What makes the Composer combination with Olympus so interesting is Live View. It gives the photographer the ability to watch the image develop while adjusting the Composer. This reminds me of Live Composite, Live Bulb, and Live ND filters.

Olympus E-30 with 14-54mm f2.8-3.5 lens and using a fill-in flash - Jpegs slightly edited in Photoshop

More about Creative ART Photography

I never tested any of the newer LensBaby lenses. I prefer the unique style of the older Lensbaby lenses. That said, my Composer is not as engaging with older M43 cameras like the E-P1 or the E-M10. The older M43 bodies are not creatively as exciting as newer models. Another aspect of older Lensbaby lenses is they are not expensive secondhand and mostly in good condition. 

Yes, it's possible to have similar results from Photoshop, but it's not the same as using the camera and the Composer. It's possible to enjoy hours of creative photography with Olympus and the Composer. Think of nature photography, city streets, portraits, and botanic gardens. Your Olympus and Composer combination is compatible with almost any photography style.

See this Instagram account...

Olympus Pen-F with Lensbaby Composer and my new "1020" Color Profile

Pen-F with Composer and my new Color Profile, then taken back to Live View in WS and changed to an ART Filter

The different Olympus creative features like ART filters, Scene Modes, the Color Creator, and Color or MonoChrome profiles are all 100% unique. This means we have a camera and software platform with a unique set of creative features to practice and create new masterpieces... 

Olympus Pen-F with Composer - I used the new 1020 Color Profile with a bit of white vignetting

Folks, it might be too much for some when I repeat phrases with ART or creative photography. The thing is, photographers created art for years and it's nothing new to see special effects from filters, ND filters, or polarizers. Not even the Lensbaby concept is unique. What is new is how Olympus managed to create a software version of the same Truepic Image Processor in Olympus cameras.

See this interesting discussion on DPReview about Photography and Art...

Olympus Pen F with the Composer Pro and Sweet 35mm lens

The personal growth you can expect from expanding your thinking and using something like Lensbaby with your Olympus camera is more than exciting... 

For example, while photographing, think of the final image and the steps you will take when converting the Enhanced Raw File or editing the 16-bit Tiff file in Photoshop. It's now possible to continue the creative process in Workspace when converting your Enhanced Raw Files.  

Olympus Pen-F with Lensbaby Composer and my new Color Profile and Vignetting

If you need more information about Lensbaby, see this link. You will discover more information in the download section. Do a search for secondhand Lensbaby lenses and experiment with them. It takes time and patience to be more comfortable with these Lensbaby lenses...

As said, the Lensbaby Composer does not communicate like regular Olympus lenses with your Olympus camera. They also do not have AI, AF, or CAF. 

Lensbaby lenses are so basic that one literally takes the right aperture disk and places it inside the lens. See the diagrams below of my different Lensbaby components and a quick "How-To" guide.

The basic components of the Lensbaby Composer and so-called Tilt Transformer (bottom part).

What makes the Lensbaby Composer so interesting is its continuous adjustments. It's possible to "adjust" the Composer until one gets the right image look. For example, use a Nikon lens with the Transformer and you have a basic tilt-shift lens. 

The illustration below shows the Lensbaby Muse with the Tilt Transformer. I do not know if the Composer is still commercially available. You will find them secondhand...

Here you have different options or possible applications with the Composer

The next generation after the first Composer is the Composer Pro and now we have a Pro II. As you can see the Pro is the safe option for OMD cameras. That said, the newer Pro is not as flexible or interesting as the original Composer. 

Any of the older LensBaby lenses or next-generation lenses are worth trying if you like to experiment with these fine lenses. 

Olympus Pen-F with Lensbaby Composer - I used the Color Creator, WB, Curves, and Vignetting in the camera

Olympus Pen-F with 70-300mm f4.5-6.7 - ISO640, f8.0, 1/2500 - Raw edited in WS, Pop Art filter, and vignetting

If you prefer a simple walk-around lens, look for the Composer Pro. They are smooth and the Sweet 35mm add-on that comes with it has a built-in aperture unit. The EM10 II and EM5 II are good for the Composer Pro series.

The Lensbaby Composer Pro on my EM5 II - The Sweet 35mm with Aperture ring is fitted to the Pro

Olympus EM5 II with Composer Pro - Raw edited in WS with Pop Art, and Shadows/Highlights

Olympus Pen-F with the Composer Pro with Macro and Sweet 35mm lens (1020 Color Profile)

Olympus EM5 II with Composer Pro - Raw edited in WS with Pinhole ART filter

Olympus EM5 II with Composer Pro - Raw edited in WS with Color Creator, Shadows/Highlights, and Vignetting

Olympus EM5 II with Composer Po - Raw edited in WS with Vintage ART filter, Shadows/Highlights, and Vignetting

Olympus EM5 II with Composer Pro - Raw edited in WS with Grainy Film ART Filter, Shadows/Highlights, and Tone Curve function

Olympus EM5 II with Composer Pro - Raw edited in WS with Color Creator and Vignetting

Olympus Pen F with Lensbaby Composer and Twist 60 at f2.8 - I used the Watercolor ART filter in Workspace