A few casual photos from my Olympus Pen EP-7

Last Updated: 2nd February 2026

Those things I always considered important became irrelevant the more I studied digital photography and Olympus cameras. For example, does the OM-3 improve my image quality, or is knowledge more critical? How much would a new camera or the perfect exposure mix (SNR-to-ISO ratio) improve your photography? Knowledge and experience can be considered more critical, as they let us manage the typical 2 EV variance between pro-level and budget sensors. One option increases the dependence on equipment, and the other is an enabler for better results while enjoying photography.

Creativity combined with simplicity makes the Olympus E-P7 an interesting option for 2026 by letting us focus on photography and creativity. While knowledge and the more technical aspects reviewed in the above paragraph are critical, it's the simplicity and excellence of the Pen E-P7 that motivates the creative hobby photographer to gain more experience while improving their photography.

Pen EP-7 with 75mm f1.8 - ISO250, f2.0, 1/160 - Raw edited with WS - Pop ART filter adjusted + soft focus. 

It's good to evaluate the camera's technical and optical aspects separately. That means considering more than dynamic range, noise, and sensor size. The next step is the optical effects created by the aperture, shutter, and the lens. A basic evaluation of IQ should also include shadows, midrange, and highlight data. For example, why do some 24MP sensors capture more shadow and midrange data than others? A common challenge all digital cameras have is reliable shadow information.

The critical part of studying digital cameras is finding credible information while staying focused on the fun aspects of digital photography, image editing, and the camera. For example, always keep your camera with you. It's a simple measure of a healthy passion for photography. It's sometimes difficult, but people appreciate discretion, plus nothing is as rewarding as sharing your images.

Olympus E-450 enhanced raw file converted in Workspace (Tonal curve, Vivid Picture Mode, and soft focus effect with time of day and DOF).

I recently bought a used Olympus E-3 in excellent condition for only $70. I still have vivid memories of the fun I had with my E-3 and photography from 2008 to 2010. I was stunned by the image quality of this nearly 20-year-old camera while reviewing the images from my "new" Olympus E-3. For example, I tested fifteen digital cameras ranging from 2006 to 2025 to discuss any image quality differences. I couldn't find enough image quality variances to review the various social media claims.

It's interesting to follow modern image editing trends. Each software upgrade seems to offer more AI masking and features to manage sensor weaknesses like dynamic range and noise. It's fascinating how many of these became a remedy for the lack of digital photography know-how. Also interesting is the rapid growth of color profiles, presets, and LUTs supporting a unique photography style.

This is the most exciting configuration for the Olympus PEN EP-7. The 17mm f2.8 lens is fantastic...

The Olympus Pen EP-7 is good at capturing shadow details and small enough to keep with me. I like the illustrated E-P7 configurations consisting of the camera with the M.Zuiko 17mm f/2.8, the 17mm f/1.8, and the VF-1 Optical Viewfinder. The M.Zuiko 17mm f2.8 offers lots of "attitude" and is always on my EP-7. I also own a popular black & gray Olympus shoulder bag for my Olympus Pen F and EP-7. The M.Zuiko 17mm f/2.8 lens is great at creating natural 3D-looking results.

Many photographers attribute this "3D look" to the sensor. Do you support this notion that the sensor is responsible for almost everything associated with image quality? In other words, should we rely on the sensor or a combination of creativity, composition, time of day, and shadows? What about a "sum of parts" approach that includes the camera, lens, image processor, and Workspace?

The combination of Workspace, the Enhanced Raw Format, and the camera improves our results by replicating our camera settings in Workspace or by applying our experience with Workspace to find the right camera settings in general or creative situations. Always practice this unique photography style because it's an integral part of creativity with Olympus cameras and Workspace.

You will find my overview/review of the Pen EP-7 here.

The simplified version of the EP-7 menu was designed to focus on photography. As much as 80% of the E-P7, Pen F, OM-3, and Workspace features support creative photography? For example, some use tonal adjustments like highlights, midtones, and shadows to tweak their Color Profiles and ART filters. Tonal adjustments are also used to finalize exposure and the gamma curve in Workspace. Did you know that these are the only cameras that allow us target individual colors in the camera?

For more about Workspace and the Enhanced Raw Format, study this article.

How many of you tried the new ART filter options of the E-P7, Workspace, and cameras like the OM-3 or E-M10 IV? Workspace also lets us apply these ART filter options to other Olympus cameras. It's a huge enabler for those tweaking their ART filters and a game changer for those using their cameras or Workspace to prepare the final image. See these ART profiles and my E-P7 images below.

I recently changed from Photoshop to Affinity Photo 2. The similarities between what I discuss in my articles and Affinity Photo are fascinating. I find concepts like working with luminance, color, tonal, and exposure adjustments similar to the terminology used in Affinity. It's completely different from the mainstream view of measuring the efficiency of complex electronic components by their physical size or "recovering" highlights and shadows with Lightroom's highlights and shadows sliders. Affinity Photo is a joy for those wanting to apply their digital photography and camera know-how.

Why does social media advice or the "recovering" of highlights and shadows limit our understanding of digital cameras? The sensor is not the only variable responsible for image quality or the only reason for highlight and shadow clipping. See the illustration below for a better way to evaluate cameras like the E-P7, or why Olympus opted for a powerful but more user-friendly Pen E-P7.

See this article discussing the 8 variables impacting your exposure mix.

The photos below are basic samples of the flexibility we have with the E-P7 while creating interesting photos and short videos. I would much rather have an upgraded version of this amazing camera than a Pen F II to complement my OM System OM-3 in 2026. Imagine a metal finish and the Pen F viewfinder. It would be great to see an entry-level OM System E-P7 and E-M10 IV in 2026.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Color Creator 9:0.

EP-7 with 12-50mm f3.5-6.3 - ISO200, f6.3, 1/60 - DxO PhotoPack Generic Fuji Provia filter.

Olympus EP-7 w 17mm f2.8 lens - ISO400, f5.6, 1/80 - Raw edited in WS - Partial Color ART Filter

The above image is an interesting example. I used the Partial Color ART filter twice and combined the 2 results in Photoshop. I applied the Soft Focus Effect in the ART filter and adjusted the intensity with the Clarity and Dehaze sliders. I used a Color Filter in Workspace and duplicated the background layer in Photoshop to add a Soft Light Blending effect. It is possible to edit or adjust the intensity (opacity) of each step. I used DxO FilmPack to add a frame to the image.

Pen EP-7 w 17mm f2.8 lens - ISO250, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter w Soft Focus.

Pen EP-7 w 17mm f1.8 lens - ISO200, f6.3, 1/250 - Raw edited in WS - Pop ART II Filter

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/400 - Raw edited in WS - MonoChrome Profile.

Pen EP-7 w 17mm f1.8 lens - ISO200, f1.8, 1/250 - Raw edited in Workspace - Vintage ART filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO60, f6.3, 1/200 - Raw edited in WS - My own FujiFilm Velvia 100 Color Profile.

Pen EP-7 with 17mm f2.8 lens - ISO200, f8.0, 1/640, -1.3EV - Raw edited in WS - MonoChrome Profile + Grain.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f8.0, 1/400 - Raw edited in WS - Light Tone ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f5.6, 1/1250 - Raw edited in WS - Vintage ART Filter w Soft Focus.

Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Grainy Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Color Creator 2:-1 - DXO PhotoPack Frame.

Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Diorama ART Filter.

This image was taken in South Africa. The EP-7 is a great little camera...

How to use the Color Creator?

Last Updated: 27th February 2025.

The Color Creator is one of the more underrated functions from Olympus. The article was written to give M43 photographers a new perspective on this unique function. The Color Creator multitasks as an innovative tool to adjust the color and ambiance of our photos while teaching us more about color and creative techniques. For example, the Enhanced Raw Format makes it possible to use the Color Creator in the field and keep or deselect the results in Workspace.

The Color Creator and Color Adjust tools are unique to Olympus and give us a broader range of color and creative options. I appreciated the uniqueness of these features more when I saw how much Fuji photographers do with fewer options. The Color Creator reminds me of Fuji's chrome effect. 

Try the following exercise with your Color Creator.

Select a similar image from your image collection to create the above color and ambiance for your photos. Raw files work better because the Color Creator is unavailable for JPEGs. Open the raw file in Workspace and select the Color Creator from the Picture Mode menu. The Color Creator was available for all 16MP and 20MP (OM-D and PEN) Olympus cameras.

Start by identifying the colors in your image as you open the image. Use the Adjust Color function to find the colors. Move the mouse over the image and follow the highlighted colors on the color sliders (below). The colors below the mouse pointer will be highlighted on the color sliders.

I identified yellow and blue with the above method and targeted yellow in the above photo. Be aware of unnecessary color casts with colors not found in the photo. That said, the Color Creator is good for removing color casts. Photographers might also prefer special color effects. For example, most images benefit from warm colors. I like to start with orange to evaluate my photos.

This is an example of using blue (the opposite of yellow)

A brief explanation of the Olympus Color Creator

The Color Creator is my go-to function for creative color effects, and I prefer the Adjust Color tool for Color Profiles. The conditions for the above image were a late afternoon sundown scene. It's good to practice selecting the best time of day and photo opportunities (painting with light) for the Color Creator. The next step in the above example was targeting blue with the Color Creator.

The above illustration shows the Color Creator (CC) to the right and the Color Wheel (left). The colors in the Color Wheel mimic the colors in the Color Creator. The primary colors are RGB in the Color Wheel. It helps to keep a copy of the color wheel in your pocket or on your phone.

A basic explanation of how the Color Creator works.

Summary notes for the Color Creator (CC):-

• Always divide the CC into halves, the Color Pointer half and opposite colors.
• Start adjusting the targeted colors (color pointer) and next the opposite colors.
• The vivid "slider" changes color while the opposite side desaturates the colors.
• The image changes to B&W (desaturate) when the vivid slider is in the center.
• Except for the B&W images, the colors to the left/right are impacted the least.

Pen-F with the 17mm f1.8 - ISO200, f5.0, 1/1000 - Color Creator (11:0) - Opposite colors with desaturated greens.

The Color Creator is good for creating positive reactions from your audience. Regular practice and hands-on experience are essential for having good results with the Color Creator. This video talks about color harmonies and how they can be used to change the audience's mood.

You can tweak your Color Creator settings in Workspace with the Enhanced Raw File. Activate the Color Creator in WorkSpace and see the color settings you used in the field. See my article on the Enhanced Raw Format and how to activate your camera settings in Workspace.

Example 1 (Workspace, Color Creator, and layers in Photoshop)

• I targeted orange/red to simulate an analog film look with Workspace
• I used the Color Creator and Color Filters at the same time in Workspace
• I exported the image to Photoshop and applied Soft Blending in Layers

Olympus Pen F with 9-18mm f4-5.6 lens, ISO200, 1/1250, f5.6

Example 2 

• Color Creator, Highlights/Shadows, Tone Curves, and PS
• I targeted magenta with +1 Vivid in the Color Creator
• I used the Soft ART filter to create a specific ambiance
• I used layers and blending modes to add a little definition
• See my main Workspace adjustments below the image

Olympus EM1 II with 35-100m f2.8 Lumix - ISO200, f2.8, 1/800

Example 3 

• Pop ART Filter, Color Creator, and Color Filters
• See my Workspace settings below the image
• I used Photoshop and Blending Modes

Olympus Pen F with 12mm f2.0 Lens - ISO800, f4.5, 1/80

Example 4 

This is an example of editing two Enhanced Raw Files with Workspace. How does one target colors in Workspace? Start by identifying the colors and their opposite colors in the image. Focus on them and use the Color Creator to create color and ambiance effects. Use the Tone Curves function in Workspace as a curves function or complementary colors to the Color Creator. A third level of augmenting the Color Creator is Workspace Presets. All these benefits from gaining more experience...

The two examples below demonstrate the power of the Color Creator.

The first raw image

The second raw image

The above example is interesting because I purposely increased the vividness to highlight the colors in the scene. I do not typically saturate colors this much. I had to adjust the sky because the Color Creator desaturated the blues (the opposite color). I used my "WB Preset" to correct the blues. This technique of combining two functions makes Workspace more interesting.

Example 5

• This example uses multiple filters in Workspace
• Practice with opposite colors and color harmonies
• I started with the Instant Film ART Filter because I wanted a film look
• I used opposite colors and color harmonies with my different filter settings
• See my editing steps and the different filters I used in WS for this image

What do we learn from the above examples? 

• Work with colors found in the scene or the image
• It's good to use harmonizing colors - See this article
• The concept of working with opposite colors is key
• Practice using multiple color functions in Workspace

Additional editing steps:- 

• I adjusted my final contrast with the highlights/shadows (curves) function.
• ART Filters work great with the Color Creator and Highlights/Shadows
• I use the Unmask Filter in Workspace or Smart Sharpen in Photoshop
• I often do my final brightness, contrast, and cropping in Photoshop

The Color Creator is a creative tool. Use it as often as possible in the field. Also, practice with the Color Creator in WorkSpace, and try the Color Creator with WB (Preset) combinations.

Additional reading:-

• For more about Enhanced Raw Files and Live View, link
• Editing images in Live View mode with WorkSpace - link
• Go to the WorkSpace Tips article for several tips - the link

Olympus Pen F with 25mm f1.8 Lens - ISO200, f4.5, 1/500 (only i-Enhance)

There is a general misunderstanding about iEnhance in Picture Mode. Search for more information if you haven't. Olympus added its most advanced imaging technologies to the iEnhanced Picture Mode. It has three intensity levels with instantaneous benefits for your camera and Workspace.

Olympus Pen F w 25mm f1.8 Lens - ISO200, f4.0, 1/1000 (CC 19:0, EC=-2, Saturation +0.4, Curves 2:-1:-1)

Olympus Pen F w 25mm f1.8 Lens - ISO200, f4.5, 1/500 (CC 3:0, Curves 2:-0:-2)

Olympus Pen F w 17mm f1.8 Lens - ISO200, f5.6, 1/640 (WB Shadows & A-3, CC 3:0, Curves -4:-3:0)

Olympus Pen F with 75-300mm Lens - ISO200, f6.7, 1/400 (Raw edited with PhotoLab 4 & PS)

Color and Creative Photography with Olympus - Part 6

Last Updated: 27th February 2025

Introduction.

Why does the Olympus Pen-F continue to be a fascinating camera in 2025? Included is a short overview of the Color and Creative Strategy Olympus introduced with the E-30 (9 aspect ratios, 6 ART filters, and Auto Gradation). The EM5 II was the first hybrid with ART, Color, and Creative functions for photos and video. The Pen-F, E-P7, E-M10 IV, and E-M1 II/III have top versions of these features. Workspace is another interesting option. I am also showing a new Fuji color profile for Olympus.

The original design criteria for digital cameras consisted of 3 analog photography elements. Olympus focused on the sensor, image processor, and lenses. These elements quickly improved to the point that Olympus cameras consistently delivered good image quality over the past 15 years.

Olympus recognized this trend in the 1990s by adding another core element to their cameras. They introduced the Color and Creative Photography concept with the E-30, and the original EM5 was the first OM-D camera with creative and computational features. Most competitors and reviewers ignored this creative trend or value-creation strategy until more recently. Olympus and OM System added the most flexible version of this Color and Creative concept to the Pen F, E-P7, and OM-3.

It all started with this camera in 2015. They continue to deliver exceptional value and can be found for less than $400.

We will discuss the following in this article:-

1. Introduction
2. A brief overview of Olympus M43 cameras
3. The differences between Fuji and Olympus
4. Olympus Color and Monochrome Profiles
5. Conclusion

2. A brief overview of Olympus cameras

Imagine Canon had the EOS 760D, Nikon the D7200, Sony the A7 II, Fuji the XT10, and Panasonic the G7 when Olympus launched its 2nd generation EM5 MKII. Forum "experts" and reviewers raved about Canon, Nikon, and Sony's bigger sensors, more megapixels, dual autofocus, and Live View. At the same time, Olympus introduced the next iteration of the Color and Creative Photography concept with the EM5 II. It took competitors up to 8 years to appreciate the significance of this step.

My articles are updated as I learn more about Olympus' Color and Creative Photography features. This includes technical updates, general info, and more about the Live MOS sensor. Did you know that Olympus identified and perfected new technologies up to a decade before competitors introduced something similar? The Olympus version of image stabilization (IBIS) is a great example...

Olympus EM5 II with 60mm f2.8 macro lens - High-Resolution Mode, Color Creator, edited in Workspace.

A short summary of the Color and Creative Photography concept from Olympus:-

1. The 1st camera to introduce the unique Color Creator was the OMD EM1.  
2. The Olympus Pen-F introduced Color Profiles and MonoChrome Profiles
3. The ability to tweak the camera's Tonal (Gamma) Curve started with:
1. Highlights/Shadows (EM1) and Midtones with the EM5 II)
2. Auto Gradation started with the Olympus E-520 DSLR
3. Tone Curve adjustments in Viewer 3 and later Workspace
4. Great features like Live Composite and Live Time are unique to Olympus
5. The Olympus iEnhance Picture Mode plus Color Filters (basic color filters)
6. The Olympus SCN modes and ART filters improved with new cameras (EP7)
7. Olympus replaced Viewer 3 with WorkSpace introducing more advanced features
8. Workspace introduced the Enhanced Raw Format which is unique to Olympus
9. For example, WS uses the same Image Processing environment as Oly cameras
10. I realized Workspace simulates a version of "Live View" after hours of WS editing
11. Then we have the "old-school" saturation, contrast, and sharpness (all brands)
12. Computational or advanced software features are also unique to Olympus cameras
13. Features - Pro-Capture, High-Resolution mode, Live ND, and Focus Stacking
14. Olympus designed and added a new core element with powerful creative features

Why Color and Creative Photography? It explains how Olympus photographers experience the world. Forum advisors and reviewers complain by saying the High-Res mode only applies to static scenes. M43 photographers see the benefits of High-Res and creative photography. They see products, food, sunrise, sunset, and landscapes as high-resolution opportunities. They will simulate an ND filter with the High-Res mode while photographing moving water or city scenes. They know High-Resolution applications improve the camera's dynamic range and reduce noise. Creative Olympus photographers master High-Resolution applications and celebrate creative and computational photography...

Olympus EM5 II with 12-200mm Lens ISO200, f6.3, 1/650 - Enhanced Raw converted in WS - Color Creator.

Forum advisors and reviewers wouldn't acknowledge the significance of the Pen F launch in 2016. We can compare the Color and Creative Photography concept to IBIS. It took Olympus 13 years to create the "perfect" version of IBIS with 7.5EV in-body image stabilization in the Olympus EM1 III. Forum advisors spend hours distracting photographers by saying Olympus didn't invent IBIS.

While being an exciting Color and Creative tool, the Pen-F felt like an experimental camera. Was the Pen F an experiment to measure the acceptance of future and more advanced creative options? Social media advisors "refused" to discuss by criticizing the placement of the Creative Dial on the Pen F and "wisely" labeled it a marketing gimmick? They also pushed for full-frame DSLRs, more megapixels, 6K video, DSLRs with Live View, Mic inputs, redesigning menu layouts, and headphone jacks? 

The Pen-F Press Release notes continue to be an interesting read in 2025.

Press release summary: The Monochrome and Color features of the Pen-F started a new era for creative photography. It allows us to apply a new color and monochrome concept, plus the ability to follow any changes in the camera with Workspace and Live View. The Pen-F and the EP-7 are the best choices for photographers wanting advanced Color and Creative Photography features.

Olympus Pen-F with 17mm f1.8 lens - ISO500, f4.5, 1/60 - Enhanced raw file edited in Workspace - Color Creator.

3. Color Profiles and the differences between Fuji and Olympus

This is a great subject and could fill many pages in a separate article. I have been using Fuji cameras for more than 2 years. The reason I bought the X-T4/5 is the ongoing uncertainty with OM-System. They did a great job launching the Olympus OM-1 and deserves positive feedback. I prefer Olympus used cameras like the EM5 II/III, Pen F and EP-7, OMD EM1 I/II/III, and the Olympus OM-1.

3.1 What's the difference between the Olympus Color Profiles and Fuji?

The difference is the X-Trans sensor and Color Filter Array. Don't let reviewers or forum advisors tell you it's Fuji marketing like they did with Olympus. Fuji is a market leader in simulating a traditional analog film image look and how to integrate that experience with its modern X-Trans image sensors. Do your own research by starting with the Fuji X-T5 and the above Fuji information.

Source: Fujifilm X-T5

Fuji cameras come with a selection of up to 18 film simulations like Provia (standard), Velvia (Vivid), Astia (soft), and several B&W and monochrome options. Each has a unique description to guide the photographer while selecting and using film simulations. I never saw similar film simulations for Olympus or any other camera brand. One can also add a Color or Blue Sky Chrome Effect to these film simulations. The color chrome effect reminds me of the Olympus Color Creator.

Study this link about the Fuji X-T5 and go down to the film simulations. The biggest strengths of Fuji and Olympus cameras are color, image quality, and the option to tweak the final image in the camera. Fuji film simulations and JPEGs are superior to most brands, and the Olympus Color and Creative Photography concept is superior to anything else in this segment...

Fujix Weekly developed a unique community of Fuji "color profile" photographers. They created film filters like the one below. These filters are based on standard Fuji film Simulations with simple variations to basic camera settings like saturation, contrast, and more. See the example below.

A new color Color Filter for the X-T5.

How to use Fuji's film simulations to create Olympus color profiles:-

• Fuji Film Simulations - The Pen-F and E-P7 are the only cameras that can do this
• Fuji Film Simulations - Workspace compliments the Pen-F and the E-P7 functions
• Clarity and Color Chrome - Use Clarity in WS and the Color Creator = Chrome Effect
• DR100%, DR200% - this is a clever feature from Fuji (See this article for more info)

EM5 II with the Lumix 35-100mm f2.8 lens - ISO200, f5.6, 1/250 - Raw file converted in WS - I added a Chrome effect with the Color Creator.

Is it possible to use the "Fujix Weekly" Color Filters in the EM5 III? We first need to study the Fuji Film Simulations and descriptions. The next step is to replicate Fuji's Film Simulations. The second step would be to simulate the "Fujix Weekly" color filter for Olympus. Some say it's possible with all OMD and PEN cameras. I found these Fujix Weekly or standard Fuji film simulations are too complex for most Pen and OMD cameras. Only the Pen-F, E-P7, and WS have the correct features.

For example, the Classic Chrome Simulation description says, "slightly desaturated colors (reds and greens) with stronger shadow contrasts for dramatic lighting, retro-style subjects, and reportage projects." It's a safe place to start replicating these Classic Chrome Film attributes with something like the Olympus EM10 II or the EM5 II. These are the settings I used:

• Desaturated Colors - Select the Muted Picture Mode plus A -2 and G -2 (SCP)
• Desaturated Colors - Go to the SCP and set the RGB setting to -2
• Harder Shadow Contrasts - Select Highlights +2, Shadows -3, and mid-tones -2
• We can do more with the Pen-F because it's better at adjusting individual colors.

The above settings replicate only the Classic Chrome Film Simulation. The Kodachrome 64 Filter settings have to be added on top of that. This is a process of working on the different parameters until you reach the right look. I tested the above profile with my EM5 II against the XT-5. I could only achieve 85% of the Classic Chrome simulation look with my EM5 II. I also used the Color Creator to add the Chrome effect with the following adjustments: Color = 2 and Vividness = -2.

Fuji X-T5 with 27mm f2.8 lens - ISO400, f5.6, 1/1100 (Provia/Standard).

Olympus EM5 II Kodachrome 64 Profile

• Picture Mode: Muted (See this video)
• Grain Effect: Set the max ISO to ISO1600
• Color Chrome: Use the Color Creator (See this article)
• White Balance "Daylight": (A 0) and (G -7)
• Highlight: +2
• Shadow: -3
• Midtones: -2 (Adjust between -1 to -2)
• Gradation: Normal
• Color: -1 (RGB)
• Sharpness: +1
• Noise Reduction: None
• Clarity: Can be added in Workspace (Enhanced Raw File)
• Auto ISO up to ISO2000 (fixed)
• Exposure Compensation: 0 to +2/3 EV

The main differentiator between Olympus and other cameras is the Pen F and the Pen E-P7. The "Color Adjust" and Monochrome Profile functions are far superior. I am not planning to copy more Fuji film simulations or Fujix Weekly Filters for Olympus cameras. Your best option is to buy a secondhand Fuji camera like the XT-20/30 if you like to work with Fuji's Film simulations or Fujix Filters...

Olympus EM5 II with Lumix 12-35mm f2.8 lens - ISO200, f6.3, 1/400 - Raw edited in WS with Color Creator.

4. Color and Monochrome Profiles

This is the final article in a 6-Part series about Color and Creative Photography. Did you know all the color settings in your Olympus camera are available in the Enhanced Raw File and Workspace? It's possible to tweak camera settings like the Color Creator, Color Profiles, and Monochrome Profiles in Workspace. It's the only raw converter with this unique ability to tweak your camera settings.

I decided to rewrite this section in 2024 while focusing on one question. What do we need to develop color profiles, and what are the main steps when creating color or monochrome profiles?

I created only a few color profiles because I like photographers to learn more about creative color. I hate to be the reason why photographers accept things like "only Olympus can do this." Some of the most critical skills for modern digital photography are critical thinking and a creative mind...

4.1 The Color Wheel

The Color Creator, Adjust Color, and Monochrome Profile functions are all based on the RGB Color Wheel. I created the example below as I studied my Pen-F a few years back. I learned much from designing this Olympus version and the specific Olympus information on the Color Wheel.

Do we need this Color Wheel example? We don't need one because the Olympus Color Creator, Adjust Color, and Monochrome Color functions are based on the RGB color wheel. These functions can be used to make quick decisions, like determining opposite colors or color harmonies. See this article for more about the standard RGB Color Wheel, Opposite Colors, and Color Harmonies.

The understanding of Opposite Colors is critical for Olympus. For example, how do we tweak the recorded WB with the Green and Amber sliders in the SCP? Cameras like Fuji or Panasonic have a nifty color matrix to fine-tune the WB. These adjustments work with Opposite Colors. I added the Olympus WB sliders (WS and the SCP) to the example below. The opposite of amber is blue, and green is the opposite of magenta. Positive values change ambers and greens, and negative values magentas and blues. Study these WB sliders on the Color Wheel. Also, study the WB sliders in Workspace.

Interestingly, OM System used the WB matrix tool for the new OM-3.

4.2 What do we need for Color Profiles?

Practice as much as possible with the Color Wheel and Creative Photography options to improve your camera and Workspace creative skills. For example, do you visualize the SNR to ISO ratio, painting with light, or any Color Creator or Profile settings? Do you use the Olympus Color Creator?

The following illustration summarizes Olympus' Color and Creative features. We can create Color or Monochrome Profiles in the camera or Workspace. The Enhanced RAW Format helps us to test camera profiles on PCs. The main differences between Olympus cameras and Workspace are the Tone Curve, Clarity, and Dehaze adjustments. The Hue and Brightness sliders of the Color Adjust tool are also unique to Workspace. Workspace can also combine multiple options like ART and Color adjustments. Workspace and raw files are the best way to familiarize yourself with these creative tools. 

The video below discusses Color and Creative editing examples. Also, see this video on how to edit your images in Workspace. These two videos are a good introduction and advanced overview of Workspace. The secret is to spend time and do lots of raw conversions/editing to practice with Workspace. YouTube selected a lower resolution for this video (Change the settings to 1080p).

The following YouTube Video is a short introduction and overview of the FujiFilm X Raw Studio. The information will help you appreciate the differences and uniqueness of Workspace. The sound is not OK. I am planning to do more videos about my Fuji X-T5 in the future.

5. Conclusion

My goal was to assist readers in learning more about these Color and Creative Photography features of Olympus. Yes, we can get similar results with Lightroom or Photoshop, but having your camera settings available in Workspace is something special. Workspace, therefore, requires a different editing style that needs time to practice and master. Workspace also works best for photographers who do things right with their cameras. Workspace is NOT a rescue package for poor exposure techniques...

The benefit of regularly using Workspace is your editing and color creation skills will improve. See this article (Technique 19) for more about Workspace and replicating the camera's final Live View. 

It's becoming more difficult to find secondhand Pen-F cameras in good condition. Get yourself a Pen-F or the EP-7 if you find them in good condition. These cameras will continue to be the ultimate creative color tools for M43 Photographers. The E-P7 and its excellent image quality are a good choice.

Here is a list of the other articles in this six-part series:

• A new Creative Color Strategy from Olympus - Part 1
• Digital Cameras, WB, and Color Accuracy - Part 2
• The Artist Color Wheel and Olympus Color - Part 3
• Discussing Olympus' Color Profile Function - Part 4
• Examples of Editing Images with WorkSpace - Part 5
• Color and Creative Photography with Olympus - Part 6