E-5 owners, would you take up an upgrade if Olympus offered it?

Started Aug 21, 2013 | Polls thread
boggis the cat Veteran Member • Posts: 6,324
Re: still no

rovingtim wrote:

bobn2 wrote:

rovingtim wrote:

bobn2 wrote:

I'm not sure that the difference has much to do with CFA characteristics, I think it has to do with fashion.

Not sure the sentence above fits the paragraph below.

I think in the early days of digital, people were actively looking for images that looked like film, and the workflows (particularly the colour profiles and tone mapping used) and exposure management were designed to give that. Since then other priorities, particularly low light performance, have become more important and people have become more receptive to a 'digital' redintion. I noticed when processing the DPReview studio scene that the E-5 processed through RPP went pink in the highlights, which says to me that they've pushed standard exposure right up into the non-linear sensor response to try to maximise SNR. Exposing about 1/2 stop less than nominal ISO would fix that, and then using a tool like RPP could well give the kind of look you're aiming for.

The problem is that the AA filter itself isn't perfect, it doesn't offer a 'brick wall' response.

Maybe I didn't express myself clearly enough. What I'm saying is that its possible that you could get what you want with todays CFA's but you might need a non-standard workflow to do it, including playing around with exposures other than nominal.

Possibly. The problem with this argument is that if I can't find that workflow, anyone can still claim it is my problem ad infinitum.

In other words, there is no means to disprove your argument.

For example, I have been accused of imagining E1 colour. StaceyK recently put that to the test. The hypothesis was that PP can adjust colour to anything you want ... and that her D200 files could be made to look exactly like the E1. Illy was a strong supporter of this argument.

That is a theoretical claim that I have yet to see anyone prove.  Given how nobody can match Adobe raw conversion colour to Olympus JPEGs it seems to me that colour adjustment to exactly match two outputs is not a simple process, if it is possible at all.  (It should be, but I believe the problem is that the curves / algorithms required are simply outside of the capability of end-users to achieve.)

But then I not only was right two for two, but I explained why each time. On the second post, I explained in detail before she posted the answer. After it turned out I was right, Illy then argued that I was recognising the E1 colour signature. See how the argument suddenly reversed on itself? Furthermore StaceyK was going to post more, but after I got it right twice, with an explanation, she suddenly stopped even though she had already prepared another, according to her post.

Here was the full discussion.


I would advise you to start by looking at the demosaicing capability first, if you are concerned about artefacts (particularly false-colour issues).  I have rather gone off Lightroom because of the lousy demosaicing -- it seems to be an 'artefact engine' -- and loss of detail.  Possibly the latest version is better when it comes to this; I am using LR 3.x.

 boggis the cat's gear list:boggis the cat's gear list
Olympus E-5 Olympus E-M1 Olympus Zuiko Digital ED 12-60mm 1:2.8-4.0 SWD Olympus Zuiko Digital ED 50-200mm 1:2.8-3.5 SWD Olympus 12-40mm F2.8 +7 more
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