The joy of having a discreet camera cannot be under estimated when you want to shoot in an urban or city surrounding. I found that shooting with the Olympus PEN-F and it’s little pancake Zuiko 14-42mm/f3.5-5.6 EZ lens was just a joy.
Being able to control the output and filtration of the images whilst shooting is a bonus of the customisable options on the PEN-F which meant I was able to adjust each image at the time of shooting without it being a distraction from the image taking process.
I’m still convinced by the output of the in-camera jpegs in quite the same way as I was with the Fujifilm ACROS setting that I wrote about previously, but I think there is more scope of customisation with the Olympus system and so I just have to experiment.
The image quality from the smaller sensor, being micro 4/3rds rather than APS-C does not seem to make any significant difference to the images produced when viewed on my 5K monitor even at 100% and I do not anticipate any issues with printing the images to seriously large sizes. As I have said before, everything has its limitations and you just work around them. I’ve shot and printed from much smaller sensors and with many fewer megapixels in the past.
The PEN-F actively encourages you to go outside of your comfort zone and try new things, and that just has to be good for creativity.
For more images from this visit to Elgin, please visit my dedicated blog site
As you’ll know if you follow my blog, I recently switched from the Fujifilm X series to the Olympus 3/rd system, moving from the XT-2 to the PEN-F.
The Fujifilm system is renowned for the quality of its in camera Jpegs, and I have written on the subject in relation to social media client use, and to using the ACROS setting in my blog. So, logically, I wanted to see if the jpeg output from the Olympus PEN-F would be as good. In order to do this, I shot a whole day on the Mono 1 setting for my Superfine Jpegs (its a hidden menu option, more on that here), but also saving the raw files. I then processed the Raw images in Adobe Lightroom (LR) as this is the most common development program.
My Mono 1 settings are for +1 contrast and +1 sharpness, with added fine grain because I like the film effects, as you’ll know from my ACROS usage on the XT-2. Raw files were processed to add +30 up to +50 sharpness, and to change the profile to Camera Mono so that they would end up, in theory, as similar to the Superfine jpeg in tone etc. I wanted to see how much is lost with the in-camera process to jpeg compared with the, probably superior, LR process of the raw file. The results are quite interesting:
This is the most telling shot of all and the one I looked at first on my Mac. It was this pictures that made me decided to process the raws to monochrome and to provide this series of comparison images. As you can see, I was able to recover the blown highlights on the back of the white pony from the RAW, but the jpeg continues to look slightly ‘sharper’. This may be raised mid-tones, increased sharpening, I am not sure at this stage, but the result is definitely interesting and supports the use of Raw in many situations.
With this shot, I could again pull back the highlights of the image generally, which would suggest that I considered shooting with some negative exposure compensation or reduced the set construct amount from my +1 setting back to 0. In Raw processing I was also able to add a false graduated filter to the sky to increase significantly the cloud detail in the sky to create a more balanced image. This would suggest that I should have used a ND Graduated filter at the time of shooting, if I wanted to use the Jpeg. Adding a false filter in LR afterwards wasn’t an option as it increased the noise in the image and made the grain more noticeable in the sky than the rest of the image in an unpleasant way.
Again, the Raw image wins for post production abilities as we would expect. But importantly it also shows us what could have been achieved in-camera with a little more thought perhaps at the time, and using the correct filtration.
With this image, taken from the same spot, there is very little to notice between them at all. I have corrected the verticals in the Processed image but not in the jpeg and I did this so I could easily tell them apart once posted into this blog and I could no longer see the filenames. That is a reflection on how close they are. If anything, I prefer the in-camera jpeg on this occasion, and would correct the verticals for use. I think it appears slightly sharper and there is more detail in the sky. It is strange, because although they were taken just minutes apart and from the same place, the sky recovery from the previous shot was better in the raw image processing and the in-camer jpeg would not have been my choice.
With these too I am really struggling to tell them apart. I think the jpeg looks somewhat ‘cleaner’ which makes it look a little sharper. As a side point, I have put the file sizes in brackets as part of the captions. Bare in mind that the original raw, unprocessed, would be colour so we would expect it to be higher due to holding the additional colour information. The superfine jpeg is still a decently sized file, and all of these files from the shoot ranged from 13.6MB – 15.5MB straight from camera. The raw files ranged from 17.7MB – 20.2MB in size. Both are more than adequate to produce some very high quality printed images.
With these two final images I am again struggling with which is which and if there is a difference, albeit minuscule, I would say I have a preference for the jpeg because, again, it strikes me as a ‘cleaner’ image. The camera is definitely doing something to increase the clarity, in my opinion. To test this, I tried raising the contrast slider by +30 in LR, and this appears to confirm my theory and I then really can’t tell the difference. I would assume this comes from my having added a ‘red’ filter to the creative control on the mono setting at this point in the shoot. I had forgotten about that until I checked the camera!
It would appear to get the very best out the jpegs, don’t use the plus or minus contrast setting as this is too clumsy, but use the colour defined filtration options in the customisation of the art settings. This was one of the attractions of the Olympus system, the ability to add ‘filters’ in-camera. If the raw file is saved alongside the jpeg you can always then change the whole image or effect later.
For the creative black and white shooter, the Olympus system offers a real opportunity to create substantially large and good quality jpegs in the camera at the time of shooting. This reduces the amount of time that anyone would need to spend on their computer and so give them more time to create new images out in the real world – ie. time with their camera being a photographer rather than in the office or studio glued to a monitor.
Shooting raw at the same does enable you to have a back-up, either for when you were trying to work quickly in the field and didn’t quite get it right (such as not using ND grads etc), and it gives you the options of changing your mind and not having the art settings at all and producing a completely different image. The choice is really up to the photographer and what they want their images to say, coupled with how they like to work. Memory is cheap – shoot both.
Generally with the exception of the image of the ponies where the highlights were blown out, I preferred the result of the in-camera jpeg and will therefore remember to use my grad’ filters more often. But, shooting both means if I’m rushed, it doesn’t really matter.