Rediscover your old photos with OM Workspace...

Last Updated: 7th June 2026

My thoughts wandered to the E-3 from Olympus while preparing a reference guide for my Kodak film simulations. Being from South Africa, I have a close connection to typical African colors. For example, I make an effort to visit places that shaped my color awareness when I am with family and friends in South Africa. My childhood experience with Africa's nature and wildlife reserves, combined with the refined "Kodak" image processing of the E-3, shaped my digital color preferences. Do you experience a similar connection to the colors found in the country or region you call home? For instance, I always associate Switzerland with snow, flowers, happy colors, and deep blue skies. That said, I'm aware that the E-3 has a Live MOS sensor and not the "Kodak" CCD sensor of cameras like the E-500.

The Olympus E-3 with the Zuiko 50-200 mm f/2.8-3.5 lens. I converted the RAW+ file in Workspace.

I recall experiencing exposure problems when I first took the E-3 to South Africa. I couldn't find the reason and filed the incident as unsolved. It felt strange to discover the cause so many years later in Workspace. Olympus introduced the gradation AUTO option with the E-3. It seems like I used the new option without resetting it. Having owned several versions of Photoshop Elements, I couldn't verify my camera settings as we do with the RAW+ format and Workspace. Everything changed when I set the gradation to "normal" 15 years later. See the portrait, wildlife, and Monaco examples.

Subsequently, I converted more RAW files from various Olympus DSLRs. In most cases, the results were noteworthy after changing settings like picture mode, sharpness, noise filter, color space, and gamma adjustments like curves & gradation. I also discovered several exposure-related mistakes I made in the past. Imagine tweaking and updating your camera settings 15+ years later.

PS. The TruePic processor and image processing became one of Olympus' most critical technologies...

The posted photos are from the Olympus E-3, the 50-200 mm f/2.8-3.5, the 14-54 mm f/2.8-3.5, and the 25 mm f/2.8 lenses. My RAW+ files from 2009/10 were converted and edited in Workspace. My E3 image look and my Kodak guide represent my color preferences. For instance, I adjusted the exposure and tonal values and left the colors as is for the posted images. I'd like to invite you to practice your color awareness as you do with framing your scenes. Lean on familiar colors as you define your color preferences. For example, would you add cyan to blue skies, desaturate the greens, or do any specific color changes? I think we will spend more time on these color specifics in 2026.

PS. Some of my Monaco photos were taken with the Zuiko 70-300 mm f/4.5-5.6 lens.

E-3 with the Zuiko 50-200 mm f/2.8-3.5 lens. RAW+ converted & edited in Workspace.

Olympus cameras and Workspace never stopped surprising me. I like to keep my photography simple, which is what Olympus did with their cameras and Workspace. It's a process of basic photography and image editing principles, which enable us to have great results with 10MP or 20MP cameras. Imagine the possibilities when we add experience to the mix. What would your advice be if you could highlight one aspect of digital photography? My advice would be to step away from social media influencers and free your digital photography experience from unnecessary advertising and repetition. Imagine having only one Olympus E-3, E-5, or E-30 with 4/3rds Zuiko lenses and Workspace...

Folks, consider having cameras like the E-3 or E-520 in 2010 and editing your camera settings in 2026. The strategic future of the Olympus partnership with Kodak and cameras like the OM-3 becomes clear with the tonal and color control we see from products like the OM-3 and Workspace. The OM-3 is not just another camera; it looks more like the ultimate color and Kodak-look masterpiece.

PS: I converted and edited all my RAW+ images in this article with Workspace.

Monaco - here are a few more Olympus E-3 photos

I am more comfortable photographing in the southern parts of Europe.

OM Workspace, RAW+, and the Color Creator

Last Updated: 30th May 2026

I uploaded a new video to my YouTube channel about OM Workspace, the Enhanced RAW Format, and the Color Creator. As a practical example, I decided to illustrate the color creator with enhanced raw (RAW+) conversions. The goal is 7 raw conversions photographers can use as examples.

I used the following cameras and lenses:

- Olympus E-M1 III

- OM System OM-5

- M.Zuiko 75mm f/1.8 lens

- M.Zuiko 75-300mm f/4.8-6.7 lens

- M.Zuiko 12-200mm f/3.5-6.3 lens 

Finally, one of the editing examples includes the Olympus Gradation function. I used the AUTO option to rebalance the highlight and shadow ratios with different exposure and tonal ratios.

What to expect from my next video...

Inspiration is a common challenge for photographers. It's interesting to listen to artists talking about the events or life-changing moments that inspired them to take on a new challenge. New technologies or products are often an inspiring experience. In my next video, I am discussing how my articles and photography became an inspiration on my journey with Olympus and OM System cameras.

One of the aspects guiding my journey with cameras like the Pen F, the Pen E-P7, and the OM-3 is OM Workspace, the enhanced raw format, and film stock examples such as Kodachrome 25 or Portra 400. The Kodachrome 200 film from 1986 to 2007 inspired the profile I created for these 12 photos. I will discuss the technique I used to recreate my favorite Kodachrome 200 colors in the next video. Those with older cameras like the E-M1 and E-M5 II can use the same profile with the RAW+ format...

Tip: The TruePic VIII (E-M1 II, E-M5 III, and E-M10 III & IV) is great for Workspace (tonal and color focussed) raw conversions...

The above Kodachrome 200 inspired photos were done with the OM System OM-5 and the M.Zuiko 75mm f/1.8 lens.

Wallpaper with the Olympus E-M1 III, the M.Zuiko 12-200mm lens, and Kodachrome 200. Olympus excels when photographing nature!!

The above RAW+ files from my Olympus E-M5 II were converted with my Kodachrome 200 inspired profile.

Walking with my OM System OM-3 and my Fuji XT-5

 Last updated:- 16th November 2025

Corporate marketing values were very different when Olympus introduced its new flagship digital SLR to professionals and serious amateurs. Interestingly, it was the same year that Apple introduced the first iPhone. While using my Olympus E-410, I recall the excitement about the E-3 with its new high-performance options consisting of 5 fps, 1/8000th shutter speed, and the "world's fastest autofocus." I sold mine 3 years later in 2010 and was fortunate to find another one in 2025.

I converted and edited this EM-1 III with Lumix 35-100mm f2.8 raw file in Workspace.

Digital cameras like the Konica Minolta A2 and the Olympus E-3 formed the foundation of my digital photography skillset. I continue to use and value this basic skillset and the experience I gained with these and cameras like the E-M1 series. What made the "world's fastest AF" technology special is the E-3's ability to almost instantaneously focus and lock onto the subject. The 11 cross-type autofocus points improved the E-3's continuous AF performance while following a subject.

Olympus E-3 with the Zuiko 9-18mm f4-5.6 lens. I converted and edited the above 4 Enhanced Raw Files in Workspace.

It was a lovely sunny day in Switzerland and perfect for a walk in nature with my OM-3 and the XT-5. I was interested to see what the images of these 2 cameras would be like when I only use the camera and the RAW converters from OM System and Fuji. What makes Workspace and RAW Studio special is their ability to synchronize with the camera's image processor. What differentiates Workspace and Olympus (OM System) cameras from Fuji is the implementation of gamma controls. The tonal options of Workspace are more accurate, flexible, and effective than anything else I've tried.

OM-3 with the Zuiko 12-45mm f4 Pro lens (iEnhance Picture Mode). I converted the raw file in Workspace.

Fuji XT-5 with the 18-55mm f2.8-5.6 lens (Provia fim simulation). I converted the raw file in RAW Studio.

My current editing style consists of converting my raw files in Workspace or RAW Studio and editing the exported files with Affinity. I cancelled my Photoshop subscription and replaced it with Affinity. In fact, the latest version of Affinity is now free. While taking some time to familiarize myself with Affinity, I realized it's similar to Photoshop plus the tonal controls from Workspace. Manufacturers are better at converting raw files than any of the commercial alternatives. Better conversions mean better base-level data, not the included editing options of modern raw converters. Affinity has more editing features and flexibility than any of the commercially available RAW converters.

The focus is different with Olympus and OM System, meaning it's changing from "recovering" highlights and shadows to focusing on the natural balance between the highs, midtones, and shadows. It simply means tweaking the OM-3 or Workspace gamma curve to better mimic the original scene. The image will literally pop as you get closer to the right mix of exposure and tonal adjustments.

See this article for more...

OM System OM-3 with the 12-45mm Pro. This is a handheld 50MP high-resolution image. I converted the raw file in Workspace.

OM System OM-3 with the 12-45mm Pro lens. This is a cropped version of the above high.resolution image.

I almost never go beyond +4 or -4 when adjusting the different tonal values (sliders) in Workspace. My tonal adjustments normally vary between +2 and -2. That means the right mix between exposure compensation (a global setting), tonal curves, and highlight, midtone, and shadow adjustments. I also use the iEnhance picture mode and AUTO gradation option in some cases. For example, I used them for some of the images in this article. My default camera setting is the iEnhance Low option and no gradation. See my articles for more on reflected light, the 4th exposure variable, and the process I follow when photographing and converting or editing my raw files in Workspace or Affinity.

Fuji XT-5 with the 18-55mm f2.8-4 lens. This is a cropped version of the original XT-5 (40MP) raw file.

The OM System OM-3 and the Fuji XT-5 are excellent but very different mirrorless cameras. Both offer something unique with a strong resemblance to their professional counterparts. The X-T5 is special with its traditional dials and more hands-on operating style, while the OM-3 is unique with its ability to target and adjust specific colors. The general trend is global adjustments, whereas the OM-3 lets us create global color effects as well as specific color adjustments and profiles. What makes the OM-3 special is the link to the OM-1 series, powerful color and computational features, and the integration of the TruePic X image processor with Workspace and our personal computers.

Apart from being very different cameras, the application of the E-3, the OM-3, and the XT-5 changes with each camera's sensor sensitivity, resolution, image processing technologies, and computational features. The benefits of high-resolution sensors are application-specific and not a general necessity for image quality. For example, do you prefer more megapixels or more efficient image sensors? More megapixels simply means camera manufacturers are offsetting sensor sensitivity improvements. The practical implication is the +2EV sensitivity benefit for the OM-1/OM-3 image sensor and more pixels for the XT-5 with only marginal efficiency improvements over the older XT-4.

It's fair to say that it's almost impossible to do an unbiased comparison of these cameras when looking at the time and effort it takes to master the OM-3 and the XT-5. These are excellent cameras and top contenders for the trained and experienced photographer who also appreciates any technical, optical, and functional differences. You will notice that I am more comfortable with the OM-3, as it excels in creative color, managing tonal data, and painting with light applications. The Fuji XT-5 requires more post-processing for similar results. One could say the X-T5 is better at presets or film simulations, and the OM-3 is perfect for the creative and experienced photographer.

It's worth mentioning that these two cameras use high-sensitivity sensors. The ongoing social media conversation about dynamic range (DR) and noise is irrelevant because it's based on a commercially motivated "bigger is better" theory. I didn't find any "critical" DR or noise differences between these two cameras. The technical similarities between them are, however, fascinating. A new world of photography and editing is waiting for those stepping away from social media "advisors."

The XT-5 reminded me of the optical differences and characteristics of larger sensors. Being familiar with the deeper DOF of M43 cameras, I only noticed the reduced DOF while editing the XT-5 files. As you know, different sensor sizes change the sensor's image circle and the physical size of especially pro lenses. It also changes aspects like depth of field (DOF) and background blur. Technical variables like dynamic range (DR) and noise do not change with different sensor sizes. The design criteria and budget versus high-sensitivity sensors change the DR and noise of every image sensor.

These basics become more evident when we use the XT-5 and the OM-3. Anything other than portrait photos requires more care to create a deeper DOF with the XT-5. The experience needed to manage the technical aspects of these cameras applies to ALL cameras. Basic photography skills, editing, and creative know-how are general advantages, especially when using these two cameras.

OM-3 with the Zuiko 12-45mm f4 Pro lens (iEnhance Picture Mode). I converted the raw file in Workspace.

Fuji XT-5 with the 18-55mm f2.8-5.6 lens (Provia fim simulation). I converted the raw file in RAW Studio.

I've been experimenting with older cameras to improve my technical skills on digital cameras over the years. My current plan is to sell most of my cameras and to focus on Olympus and OM System. The most difficult one to let go is the Fuji XT-5. Cameras like Canon, Olympus, and Fuji are known for excellent image quality and flexibility when converting RAW files or editing JPEGs.

The OM-3 and the XT-5 are excellent examples of edit-friendly cameras. It's a joy to do photography with them and to process the RAW files in Workspace and RAW Studio. As mentioned elsewhere, my photography style focuses on natural light patterns and the basic concept of painting with light. It explains my preference for these two cameras with Workspace, RAW Studio, and Affinity.

The above composition shows the effect mindset has on our photography. The repetition of dynamic range, high ISO values, sensor size, and noise negatively impacts our photography. The alternative is learning how to work with reflected light, the gamma curve, and SNR. Workspace and RAW files let us manage color variances and rebalance the gamma curve, not correct exposure failures.

My goal with this article was to show what M43 photographers can expect from OM System, Olympus, and Fuji cameras when using Workspace and RAW Studio. The challenge modern photographers face is the camera's default gamma curve and marketing. The concept of color and tonal control, painting with light, and the camera's image processing moves us closer to brighter and happier photos.

Best

Siegfried

My OM System OM-3 photos.

My Fuji XT-5 photos.