The 7 points each Digital Photographer should know

Last updated:- 3rd August 2023

Introduction.

This article reviews 7 technical points each digital photographer should know. They also explain why photographers are the creative power behind photography. These technical points can be regarded as "enablers" to improve your Image Quality. The fun or creative part of photography also improves with these 7 points. Knowledge is an integral part of our journey with digital cameras...

Olympus E400 with 25mm f2.8 lens - ISO100, f7.1, 1/160 - It's a 10MP, 4-Thirds CCD sensor. It's the OOC jpeg.

Technical and theoretical information is part of a general process of improving our camera skills. It explains how to improve our exposure skills (SNR to ISO ratio) and our ability to visualize the sensor's Saturation (performance) and SNR (noise) levels. Knowledge is always critical...

Technical information also helps us explain why Olympus used a 20MP sensor for the OM-1...

There's only one right way to discuss and study digital cameras.

Many photographers prefer a more simplified technical conversation. I listed 7 points to assist people in this learning process. It highlights only the most critical points photographers should know.

These 7 points are:

1. The exposure triangle works for analog & digital cameras.
2. Know the image signal path from the subject to the SD card.
3. How to manage the sensor's performance and the SNR ratio.
4. The 7 steps manufacturers use to manage the image sensor.
5. The basic types of noise and how to control image noise.
6. Various kinds of CMOS sensors and why the differences.
7. A basic illustration that summarizes all digital cameras.

These 3 points are also critical when we evaluate different cameras:

1. Optical differences - Always consider the differences between formats
2. Technical similarities - This article focuses on the technical similarities
3. Editing Software - We shouldn't ignore the importance of image editing

Why is the Olympus X-Z2 such an interesting digital camera in 2023?

Why do we benefit from technical discussions? Knowledge is the enabler every photographer needs to master his or her digital camera. Knowledge empowers us to manage the sensor's performance and not simply rely on size. Pixels capture Photons and not the size of the sensor's backplate. For example, did you know the Effective Pixel Area is more important than the size of the sensor? Each pixel's control wiring reduces the light-sensitive area of the pixel. This means standard CMOS sensors have a smaller Effective Pixel Area (67%) than LiveMOS (85%) or BSI CMOS (97%) sensors.

Consider the following 10 points when evaluating your next camera:

1. The focus should be on pixels because pixels capture photons
2. Fewer pixels mean a smaller noise floor and better efficiency
3. The type of sensor influences the sensor's effective pixel area
4. More resolution means smaller pixels with smaller pixel areas
5. Pixel area changes the Optical Efficiency & sensor sensitivity
6. More pixels means more pixel control wiring with more noise
7. MZuiko Standard & Premium lenses are SMALL and excellent
8. Each sensor size has different & unique optical characteristics
9. The size of the sensor does not change its technical limitations
10. Stacked BSI sensors are known for fast sensor readout speeds

1. The Exposure Triangle

Your Aperture and Shutter Speed determine how much light reaches the film strip in analog cameras. Old film cameras have a mechanical ISO (ASA) adjustment. The ISO setting synchronizes the camera's exposure values to the sensitivity rating of the film and is set once for each.

Your Aperture and Shutter Speed are the same for digital cameras. The sensor's final sensitivity is measured and set at the factory. In other words, it's calibrated to deliver a +/-1EV delta for each full-stop ISO adjustment. The sensor's sensitivity doesn't change once it's calibrated. The ISO function has a new role with digital cameras. It now amplifies the sensor's output signal (image brightness). Like analog cameras, your ISO is a critical "exposure" variable in the exposure formula.

The ISO also amplifies the image sensor's noise floor. It's not correct to say the ISO creates noise. All sensors have an active noise floor when the camera is switched on. We can influence the visibility of the sensor's noise floor (image noise) with the SNR to ISO ratio. This means our goal is more reflected light on the image sensor. This increases its saturation level and the image signal's SNR.

Olympus E30 with 14-54mm f2.8-3.5 Pro Lens - ISO100, f7.1, 1/400 - This is the OOC jpeg image

2. The image signal path from the subject to the SD card

Study this link for more information on points 2, 3, 4, and 5. The challenge was to create a basic but theoretically correct model to explain the digital camera. The secret is to exclude any technical data with no practical value. It's easy to discuss and quote useless charts and information.

Familiarize yourself with the following illustration explaining the image signal path...

Promoters like to distract photographers by claiming the A/D converter is part of the pixel. While correct in some unique cases, the basic flow diagram in the above illustration stays the same. One can say much about the technical aspects of the digital camera. The question should always be, will new claims or information improve your photography, or is it useless information?

3. How to manage the performance of your Image Sensor

This illustration summarises how we manage the image sensor plus any visible noise. A more detailed description of managing your sensor's performance is available here, in section 5.

Photographers don't think of exposing the sensor and amplifying the image signal. The aperture and shutter speed "expose" the sensor, and the final exposure (image brightness) is set with the ISO. This concept forms the foundation for improving our image quality with M43 cameras. This is also how we manage the sensor's performance. The goal is to increase the light exposing the sensor. Increasing the reflected light on the sensor means less visible noise and more tonal data.

Assume you have a choice between ISO1250 and ISO1600. Most photographers would select ISO1600 without considering the image signal. That means the sensor received less light at ISO1600. That will reduce the sensor's saturation level and SNR. The resulting images will have less tonal data with more visible image noise. Your digital photography and exposure skills will grow in leaps and bounds as you grasp this simple concept and make it a part of your digital photography.

Olympus E420 with 18 - 180mm lens - ISO100, f6.3, 1/320 - The Enhanced Raw File was edited in Workspace.

Why should we edit our images to the correct exposures? Study the exposure formula here. Always use neutral gray (18%) exposure and WB values. This ensures accurate image colors. This also means resetting your ETTR or SNR-to-ISO ratio to neutral gray in Workspace. Study this article on how to reset your camera adjustments. Always do your editing with 18% gray brightness levels. That's why you should include Workspace and the Enhanced RAW Format in your image-taking process.

4. The 7 steps manufacturers use to improve image sensors

The following illustration describes the 7 questions manufacturers ask when designing new cameras. For example, one critical aspect of selecting the appropriate sensor is Sensor Readout Speed. This impacts the camera's Silent Shutter or Rolling Shutter efficiency. Standard CMOS sensors are known for having slower readout speeds. Stacked BSI sensors solved this problem with higher sensor readout speeds. Stacked configurations are unique to Stacked BSI "CMOS type" sensors.

Study the illustration below...

5. The basic types of noise and how we control image noise

I always wish someone would ask the question when I see statements like smaller sensors have more noise. What question? The question is simply, where does image noise come from..?

Study the link in section 2 for an overview of the illustration below. Each digital photographer should master the Photons to Electrons graph in this illustration. The most important thing to learn from this illustration is sensors perform at their best when fully saturated. Our goal should always be more reflected light to saturate the sensor at any ISO. This technique is better known as ETTR. The Shutter Speed and Aperture control the light exposing the sensor. The histogram shows what's happening with the sensor at fixed ISOs.

Study these points explaining the graph:-

• The camera's aperture and shutter speed controls the light reaching the sensor.
• The sensor is fully saturated at the native ISO, and the exposure is at point B.
• A fully saturated sensor means we have the highest signal-to-noise ratio (SNR).
• Cameras have a safety buffer in Auto Mode. They will not expose up to point B.
• This safety buffer results in a lower SNR and the histogram moving to the left.
• ETTR means we control the exposure. The goal is to saturate the image sensor.
• Study and understand the noise floor. Fewer photons (light) means a lower SNR.
• The graph is linear, meaning the bulk of the Tonal Data is in the mids and highs.
• The graph plus the noise summary are powerful tools for studying image sensors.
• Spend time with this illustration. It's one of the most powerful photography tools.  

Olympus E450 with the 14-42mm kit lens - ISO100, f7.1, 1/320 - My wife took this OOC jpeg image.

ETTR is a technique we use to control the sensor's SNR to ISO ratio. We can also describe this as managing the sensor's performance or saturation level. Why do we need the highest possible SNR? A fully saturated image sensor gives us the highest SNR with the least amount of visible image noise. Higher ISO values mean less light on the sensor and lower SNR values. This is why it's critical to carefully select negative exposure compensations or higher ISOs. Use the photons to electrons graph to set the best SNR to ISO ratio for your application and sensor in your camera.

It's critical to familiarize yourself with the information in this article. Don't walk away because others do. It takes practice to appreciate the benefits of the above illustration. I continue to learn new techniques with this powerful tool. These exposure techniques are especially effective with older cameras with low-sensitivity image sensors. Implementing this knowledge is as simple as the example in section 2. You will discover more solutions as you practice.

6. The various kinds of CMOS image sensors

Photographers should know the different types of CMOS sensors in digital cameras. This will help them evaluate and select the best camera for the job...

7. A basic illustration to summarize all image sensors

I always considered this absolute focus on sensor size as counterproductive. The reason is Pixels capture Photons and not the size of the sensor. The information in this article is enough to improve your digital photography results. Practice regularly until you are more confident in these basic concepts. It takes effort to walk away from the oversimplified "size and capture" theory...

The sensor's Pixel area and pixel sensitivity reduce when we up the resolution. This should be general knowledge for all photographers. Instead, most photographers think it's all about cropping. Smaller pixel areas reduce the optical efficiency and ability of the pixels to resolve fine details, especially shadow detail. More pixels also increase the pixel wiring (control circuits). More components increase the sensor's noise floor. So much happens at the sensor's pixel level that it's dishonest and rude to make photographers think large sensors and cropping are the most important things.

For example, why should M43 photographers be interested in a used Panasonic GH5S?

Conclusion

This article teaches photographers more about the importance of pixels while studying the camera's image sensor. We also reviewed the most critical knowledge each digital photographer should have. The article also gives a new perspective on the different variables impacting the efficiency of the Image sensor. We also studied the role photographers have in achieving good image quality. We saw how photographers manage the image and video quality they get from their cameras.

What do we need for an equivalent image sensor comparison?

• The sensors should be the same type - (Standard CMOS, BSI, or Live MOS)
• They should have similar resolutions - We can't compare a 20MP with a 40MP
• The same firmware and pixel control circuits - That means the same AST and SNR
• The effective percentage pixel area should be the same for the different sensors
• The sensor sensitivities (optical and quantum efficiencies) should be the same
• And many more...

Pixel area is the only variable changing with a theoretically equivalent comparison. Let me know if you found an example of two or more sensor sizes (cameras) with these criteria.

Best

Siegfried

Spot the difference between 12 vs 100MP images

Last Update:- 25th April 2024

Introduction.

Watch this video from Chris Hau and his team comparing the Sony A7S III and the Fuji GFX100S. Chris asked if they could see the image quality differences between these 2 cameras? Before watching the video, list the points you will use to help you find any differences between these cameras.

Which one of the following two options do you trust more? The 1st option is theoretically analyzing the results from these two cameras, and the 2nd option is the oversimplified "size and capture," which is constantly abused to promote the virtues of higher resolution and full-frame cameras.

Why is this exercise meaningful?

Some will say it's only a fun video. While light-hearted videos have a role, the impressions they leave are enough to influence the buying behavior of many. The fun part is to study the images.

How did I identify the right camera for each photo?

- Pixels capture Photons

The Sony A7S III pixel area is 386% larger than the GFX100S. Both cameras use BSI sensors. The Sony should extract more shadow details because the larger pixel areas improve sensitivity.

- Depth of Field

Chris applied the same camera settings for both cameras. This means the Fuji has a smaller DOF with more background blur. It was difficult to see any differences because the subject versus background distances influenced the results. You need to review the images carefully to see any differences. 

- Image noise

Fuji has 8.5 times (102/12) more pixels with control circuits, whereas the A7S III has only 12MP. Each control circuit adds noise to the sensor's noise floor. It's normal to see high-resolution sensors with more visible noise. For example, a similar story is the Olympus Pen F versus the A7R IV. It needed more planning to manage the visible noise (SNR) from the Sony A7R IV than my Pen F.

Study this article for more on the different types of image noise...

Conclusion

How many photographers are tricked by undisclosed promoters voicing wild claims about the roles of sensor size and resolution? Instead of studying the functional benefits of various cameras, we see those who never prepared articles or theoretical papers repeating the wildest statements...

The answer is to focus on shadow details, DOF (background blur), and shadow noise. You won't find any optical and technical "size and capture" trademarks like a full-frame look, noise-free image, better image quality, "less" lens diffraction, subject isolation, dynamic range, bokeh, or the GFX100S captures more light. Chris said he edited the photos but gave only a few details.

Here is a summary of what I found:

- First round - B is Fuji. (DOF and shadow noise)

- Second round - A is Fuji. (DOF and shadow noise)

- Third round - A is Fuji. (Mainly DOF with some loss of detail under the balconies)

- Fourth round - The left one is Fuji (Mainly DOF - study the background carefully)

- Fifth round - The right one is Fuji. (We need to see the focal point? A very tight DOF)

It was difficult to spot shadow detail differences. The tight DOF and the image editing made it difficult to analyze these images. It would be nice to see an example like the one below for each camera. See this example of editing deep shadows with an Enhanced Raw File and Workspace.

See this article analyzing the shadow details of 15 cameras.

Any thoughts

Siegfried

An example of the Sony A7R IV at ISO3200. The sensor was not fully saturated.

Additional opinions:-

- See the video from Jimmy (RED35). Is 20MP enough?

- See the 2 parts response from Joseph Ellis to the above video.

- SLR Lounge with a 90-second overview of Megapixels

- See this video from Duade Paton for an engaging overview

Wildlife Photography with Micro Four Thirds

Last updated:- 1st August 2023

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

Olympus E3 with the 28mm f2.8 lens - ISO160, f2.8, 1/100 - Low light Raw file edited with PL-5 and DeepPrime NR.

The example about noise at ISO20K made me wonder how much "low light" is available at nearly 7 Stops of ISO amplification. How much of the wildlife photographer's daytime is spent in these conditions? It's also clear the Pangolin photographers support the "size and capture" theory. Will their videos benefit from a more theoretical understanding of the digital camera? For example, the ISO to SNR ratio is enough to explain the scenarios in the two videos we are reviewing.

Janine talks about noise in this video and ways to improve image quality. Except for the part saying the "ISO function adjusts the sensor's sensitivity," the remaining content is excellent. The size and capture theory is like assigning an invisible handicap to M43 photographers.

Study the additional information below:-

- See this article about background blur (information) and the examples in this video.

- See this video for more about the best camera settings for wildlife photography.

- For more about Readout Speed or warping & wobbling, watch this video

- Study this article for more on image noise and ISO amplification.

"Olympus wildlife photographers are cheating..."

I enjoyed Janine's feedback on how full-frame photographers reacted to Pro-Capture. I disagree with the 1st disadvantage listed in the video or the "size and capture" theory. Noise is NOT a function of sensor size because EACH sensor has a noise floor. The characteristics of the noise floor are linked to the sensor's design. I also think the classic "portrait" look with blurred backgrounds works only in some cases for wildlife photography. The challenge for wildlife photographers is to display the natural habitat of wild animals without overpowering the subject.

My focus is the seasoned Pangolin photographers and the experience they share. How do we combine this experience with a theoretical explanation of the digital or Micro Four Third camera?

My family and I left South Africa 20 years ago. We will always be a part of Africa. A typical bushveld scene with my E3.

How does a theoretical explanation help photographers?

Each photographer should start with these 6 points:-

• All lenses have diffraction, and it's not something photographers should fear
• Sensors are linear devices, and they record less tonal data at lower SNRs
• Saturated image sensors benefit from higher SNRs with less image noise
• Your aperture and shutter speed control the reflected light to the sensor 
• The ISO function amplifies the image signal and the sensor's noise floor
• Pixels capture photons and not the size of the backplate they are placed on

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO160, f3.5, 1/3200 - Raw file edited with PhotoLab 5

We know M43 photographers benefit from a 2EV DOF advantage and the size and weight of M43 lenses. The summary below was designed for M43 wildlife photographers:-

• M43 photographers can safely use apertures between f5,6 and f8,0 (and higher)
• It's OK to target shutter speeds between 1/400 and 1/4000 (landscape to action)
• Always check your default exposure settings. (start at: ISO400-1600, f6.3, 1/2000) 
• Learn to use Shutter Priority, fixed ISO values, exposure comp, and the histogram.
• Understand the benefits of saturating the sensor or managing the SNR-to-ISO ratio.
• In most cases, M43 cameras don't need more than ISO3200. Also, use AI NR (WS)
• Why only IS=3200? Consider the advantage of having IBIS with suitable scenes.
• Planning and selecting the best time of the day is critical for wildlife photography.
• They always keep a sturdy tripod with them. IBIS does not stabilize your subject

Olympus E3 with the 50 - 200mm f2,8 - f4 Pro lens - ISO160, 1/2000, f4.0.

The above scene shows the natural habitat of wild animals. They are experts at hiding and becoming one with nature. One seldom sees them in open spaces in the bushveld or Kruger National Park. Wild animals will only go into open spaces when they drink water. I prefer the bushveld environments over the danger associated with open areas. That's why portraits with blurred backgrounds do not apply to wild animals in their natural habitat. I prefer the above image image look because it's natural. 

Andrew Goodall is one of my favorite wildlife photographers. See this video of his 2023 photo summary with many examples of excellent wildlife photos. Also, make a note of his camera settings.

Most wildlife photography is done in medium to good daylight conditions. Waterholes are popular locations. Talk to your local ranger about the photography spots you like to see. List the animals you want to photograph and when the animals drink. Master working with light and having the sun behind you. Always ask for information about sunrise and sunset safari drives and other opportunities. Another exciting destination for wildlife photography is the Etosha National Park in Namibia.

Olympus E3 with 50-200mm f2.8 - 3.5 lens - ISO160, 1/4000, f3.5 (Exposure compensation = -0.7)

Which M43 camera do you need for Wildlife Photography?

The best Mirco Four Thirds camera for wildlife photography is the one you have with you. I purposely posted these images from my older Olympus (10MP) E3. We don't need forum-approved cameras, the newest cameras, or those with the highest review ratings for wildlife photography. 

The Olympus E3 had no Subject Recognition or Eye Detection. Olympus did say the E3 had the fastest autofocus in 2009. While I enjoy technology and autofocus algorithms, wildlife photographers should know these technologies do not need to become deal breakers.

Olympus E3 with 50-200mm f2.8 - f3.5 lens - ISO160, 1/2000, f3.5, FL200mm - Raw file dited with PhotoLab 5 and PS 

Conclusion

Olympus has an excellent range of professional equipment. Pro lenses are designed for the highest levels of image quality, fast apertures, and the ability to extract fine details. These extreme levels of performance are only necessary in demanding conditions. Plan your photo sessions... 

Beginners and hobby photographers can expect excellent image quality from Standard and Premium Zuiko lenses. These are generally slower lenses, which is OK for wildlife photography. I decided to focus on three affordable solutions for those interested in wildlife photography.

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO160, f2.8, 1/640 - Handheld and Raw file edited with PL5

I prefer to use Olympus lenses with Olympus cameras and Panasonic lenses with Panasonic. These two manufacturers use vastly different autofocus systems. You will get the highest levels of compatibility when combining Olympus lenses with Olympus cameras. I have some lenses from Panasonic, like the Leica 25mm f1.4 and the Lumix 35 - 100mm f2.8...

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

Olympus E3 with 50-200mm f2_8 - 3_5 lens - ISO160, f3.5, 1/500 - Edited with PhotoLab 5.

Let's start with a few M.Zuiko Digital Lenses:-

• 40 - 150mm f4 - f5.6 (This is a good lens and perfect for smaller game parks)
• 14 - 150mm f4 - f5.6 (This multi-purpose lens works for smaller game parks.)
• 12 - 200mm f3.5 - f6.3 (An excellent lens and perfect for Kruger National Park)
• 75 - 300mm f5.6 - f6.7 (It's a good lens for large parks like Etosha National Park)
• 100 - 400mm f5 - f6.3 (I never used this lens. It should work for large game parks)

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

Smaller Bush Lodges have several opportunities for casual bird and wildlife photographers. South Africa has many of these smaller reserves with short hiking routes. These parks do not have the Big Five and are perfect for those enjoying nature, birding, and wildlife photography.

Olympus E3 with 50 - 200mm f2.8 to f3.5 lens - ISO160, f3.5, 1/500 - Raw file edited in PhotLab 5

Which secondhand Olympus cameras are best for wildlife photography?

• The EM1 II is a great wildlife camera. They are affordable and offer many Pro features.
• The EM1 III is a more advanced camera. They are also more expensive secondhand.
• The EM5 II, the EM5 III, and the EM10 II-IV are affordable and excellent cameras.
• I recently bought a used EM1 MKI and am blown away by this excellent camera.

Here are my 3 proposals with one bonus camera:

1. EM1 II with the 100-400mm f5-f6.3 lens (Also consider the 75-300mm or 12-200mm)
2. EM5 III with the 75-300mm or the 12-200mm lens
3. The EM5 II with the 14-150mm f4-f5.6 II lens
4. The Pen F or the E-P7 with the 18mm f1.8 and the 14-150mm f4-5.6 II lens

Olympus E3 with 50 - 200mm f2.8 - 3.5 lens - ISO 160, f3.5, 1/2000 - Raw file edited in PL5

Also, consider the Olympus 40-150mm f2.8 Pro lens with the 1.4X and 2X converters. This will give you more "Pro" flexibility plus a maximum full-frame reach of 600mm at f5.6.

Wildlife, bird, and landscape photography are great fun. Take the time to walk and practice with your new zoom lens before booking a trip to a game park. Finally, nothing beats the love for nature, enthusiasm, patience, and practice with Olympus cameras.

It was fun to edit these RAW files from my Olympus E3. It's easy to react and say, a great camera as I go through my images from 2010. I sold my E3 while being happy with its performance and image quality. I can only imagine what the RAW files would be like if I knew about the ISO-to-SNR ratio. I wish every photographer gets the chance to master these basics...

Take care and God's Bless

Siegfried

Olympus E3 with 25mm f2.8 lens - ISO160, f3.5, 1/320 - Raw file edited with PhotoLab 5 and DeepPrime NR