Color profiles, the OM System OM-5 and Workspace

Last update:- 28th April 2026

The OM System OM-5 was the final M43 camera in the Olympus E-M5 series, which kicked off in 2012 with the first E-M5. The E-M5 series, with fully functional options like the HLD-6 handgrip and power battery holder, became a digital version of the OM film cameras from Olympus. The E-M5 MKI and II established the Olympus Imaging business as a mirrorless visionary while large camera manufacturers invested in a future with full-frame DSLRs. The Olympus E-M1 MKI and II were even more impressive technological achievements, which resulted in the E-M5 III being a repackaged version of the E-M1 II, the OM-5 a repackaged version of the E-M1 III, and the OM-3 a re-engineered version of the OM-1 II. The creative dial introduced with the Pen F was a welcome addition to the OM-3.

The OM System OM-5 with the 7-14mm f/2.8 Pro lens, and the Olympus E-M5 II with the 12-40mm f/2.8 Pro lens.

While I am encouraged by the excitement and interest in the Pen F, the E-P7, and the OM-3, I am also concerned that photographers won't get a chance to practice their color skills as they are lured into yet another opportunity to purchase Fuji or Kodak profiles. My wife and I have spent an afternoon at a local old-timer and racing event. I decided to take a small shoulder bag with my OM-5, my M.Zuiko 12-200mm f/3.5-6.3, and my 12mm f/2.0 lens. I am having so much fun with Olympus cameras and lenses that it's difficult to imagine someone buying Panasonic lenses for Olympus cameras.

It's good to know that Olympus never used image quality to differentiate between cameras and lenses. The original Olympus E-M1 and the OM-1 II are great examples. The OM-1 uses the latest TruePic X processor, which means mature technologies and image quality. There are also many references to experienced photographers having excellent results with the E-M1. The M.Zuiko 12-200 mm is similar to the E-M1 because it offers excellent image quality to experienced photographers.

The 12-200mm is not as flexible as pro lenses at similar focal lengths and in low light. That said, I get great results from the micro four-thirds 2-stop DOF advantage and a constant aperture of f/7.1 in good daylight. The size and weight advantage of the 12-200 mm makes it a perfect daylight lens from ISO 200 to 1600. This simply means the 12-200 mm is an excellent general-purpose lens.

The OM System OM-5 with the 12-200mm f/3.5-6.3 lens.

The plan was to apply the color profiles in this article to the images I took at the car event. I was quickly reminded why I am not an eager supporter of color profiles. That said, it's a good idea to study my color profiles and how to apply them. The next step would be to personalize these color profiles. I asked xAI (Grok) to create a brief color summary for 20 of the most popular film stocks. I also asked xAI to create a Kodak Kodachrome 64 color profile for me. See the examples below.

I will add the xAI Kodachrome 64 color profile to my profile page. Would any of you be interested in working with me to refine the Kodachrome 64 profile? How about more AI color profiles? Why would I create more AI profiles when I value knowledge and experience higher than color profiles?

Source: xAI

One of the reasons why it's better to study and practice with Olympus and OM System cameras is the following. The "adjust color profile" function of the Olympus Pen F, E-P7, and OM System OM-3 defines the color signature of the image. We can adjust the saturation of the 12 in-camera colors with a range of ±5 steps for each color. The enhanced raw format and Workspace expand the camera's color choices with three parameters (hue, saturation, and luminance) and ±7 steps for each color, which means 75 specific color controls to shape the color signature of your image or color profile. We have almost endless color control when we add global color controls and tonal adjustments.

The OM System OM-5 with the M.Zuiko 12-45mm f/4.0 Pro lens. I applied the xAI Kodachrome 64 profile to the raw file in Workspace.

The final look emerges as a natural combination of the color base, tonal adjustments, white balance, and exposure. It's a different editing style from the modern masking and editing workflow. Instead of isolating masked areas, the focus is painting with the natural light distribution, using tonal controls and managing the highlights, midtones, and shadows (painting with light) through the scene.

The OM System OM-5 with the Olympus M.Zuiko 7-14mm f/2.8 and 12mm f/2.0 lenses.

We have tremendous control with the Pen F, E-P7, OM-3, Workspace, and the adjust color option. It would be a shame to give up thousands and thousands of color combinations for the sake of a few paid color profiles. I'd personally rather work with AI to gather information and improve my skill level to take full advantage of what we can do with these unique cameras and Workspace.

Rather than chasing the 'latest' film emulation software or someone else's recipe, the most rewarding path is to master the tools already built into the Olympus/OM System ecosystem. By learning how to tweak your camera settings in Workspace, you develop an intimate understanding of how hue-specific saturation, tonal gradation, and contrast interact, similar to a film photographer who learned the unique character of Portra versus Ektar through repeated use and darkroom adjustments.

The following video from Matt Horspool is one of the top OM-3 color illustrations...

The differences between the basic color principles of digital and analog cameras are significant. For example, digital cameras use an RGB color model plus additive color, and analog cameras use a CMY model. From the first Olympus E-5 DSLR, color was never a concern, as they always enjoyed positive feedback. It could be the link between Kodak and Olympus. My experience with Olympus color is only positive. I have always used the so-called editability test with RAW and JPEGS as a measure for usable color characteristics. My top two brands have always been Canon and Olympus...