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. It's better to use a raw file 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 when opening 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 always start with orange (+1, color 1) 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 2 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 the greens desaturated.

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 are used to change the mood of the audience.

You can tweak your Color Creator settings in Workspace with the Enhanced Raw File. Activate the Color Creator in WorkSpace to 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 targetted 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 targetted 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 in Workspace. How does one target colors in Workspace? Start by identifying the colors and 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 complimentary 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 - the 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 into the iEnhanced Picture Mode. It has three intensity levels with instantaneous benefits for the 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)

Edit your images with DxO FilmPack 5

 Last Update:- 27th MaFebruary 2025

TIP:- The filter effects are best viewed on a 27" 5K iMac and second best on a Macbook Pro.

I've been having fun with my older DSLR/M43 Raw and JPEGs in DxO FilmPack 5. The images in this article were edited with Photoshop or PhotoLab. I used DxO FilmPack to add a filmlook. Several photos were taken with older E-Series DSLRs.

It's possible to extract more detailed information with the newer iterations of Photoshop, DxO, and Workspace. They literally make older raw files look like new...

It's surprising to see how effective these new raw converters are. Looking at the results, PhotoLab is a step above the rest when converting Olympus raw files or Workspace for Enhanced Raw Files. The dedicated DxO lens database or TruePic processor (WS) is the key to getting the most from older image files.

Olympus E520 with 14-42mm Kit Lens - ISO100, f13, 1/160 (FilmPack 5 - Agfa Ultra Color 100).

E520 with 14-42 Kits lens - ISO400, f3.5, 1/15 (Left=Cross Processed Kodak Elite 100, Right=Fuji Superia Xtra 800).

My first Olympus DSLR was the E-410 and the 14-42mm and 40-150mm kit lenses. My first DSLR was a Canon 350D. I also had a Canon PowerShot G7 compact camera. I had good results from both. When I bought the Olympus E-410, I was surprised at how well this tiny Olympus performed.

The image below was created from 3 bracketed shots and my tripod. I created the HDR in Photoshop and the film profile with FilmPack 5. I added specific details applicable to each photo below each of the images. Click on any of the images to see a larger version in the Blogger Image Viewer.

Olympus Pen F w 17mm f1.8 lens - ISO200, f5.6, 1/400 (Raw edited in PhotoLab 4 plus Fuji Provia 100F profile).

Olympus E410 with 14-42mm Kit Lens - ISO200, f10, 1/40 (HDR in PS with FimPack 5 - Fuji Provia 100F).

Olympus E3 with 14-54mm f2.8-3.5 - ISO160, f8, 1/160 (Kodak E-100 GX Extachrome 100).

Olympus E420 with 40-150mm, f4-5.6 - ISO100, f14, 1/80 (Generic Fuji Provia 100).

Many M43 photographers agree that the Pen-F is one of the most exciting creative cameras from Olympus. It wouldn't surprise me if the Pen F becomes a collector's item. Following them on the used market, I noticed they are almost more expensive in 2024 than the original selling prices.

I have been using my Pen F and my older E-Series DSLRs. As said, I am working on a profile to mimic the E-Series jpeg output. That said, it seems easier said than done. Almost every E-Series camera has a unique analog image look. One would create an E-1, E-500, E-410, E-620, or E-330 look.

Olympus E410 with 14-42mm w Kit lens - (PhotoLab 3 with Adox Color Explosion).

Olympus E500 Jpeg directly out the camera - not edited and no filter - Image was taken in South Africa.

Olympus E450 w 18-180mm f3.5-6.3 - ISO100, f7.1, 1/250 (Jpeg edited w PS Raw + Lomography Redscale 100).

Olympus E30 w 14-54mm f2.8-3.5 - ISO100, f7.1, 1/400 (Edited w PS and Generic Kodal Ektachrome).

I often wondered about the original R&D specifications while working with some of my older E-Series DSLRs? What were the main challenges Olympus engineers faced when designing Olympus cameras like the E-1 and E-410 or unique cameras like the Olympus Pen-F, EP-7 E-330, and E-30? 

Was the goal to create DSLR cameras that would move analog photographers to digital cameras? When last did you use one of these older E-Series cameras? Did Olympus continue this strategy with their mirrorless cameras, or are they now focussing on digital perfection or competitors?

Olympus E3 w 14-54mm f2.8-3.5, ISO100, f7.1, 1/160 (PhotoLab 3 w Fuji Velvia 100).

Olympus E620 w 18-180mm f3.5-6.3 - ISO100, f11, 1/100 (Raw edited in PhotoLab + Fuji Velvia 50).

Olympus E30 w 40-150mm f3.5-4.5 - ISO100, f4.4, 1/80 (Edited w PS and Fuji Sensia 100).

My focus was IQ differences when I compared the EM5 MKII and the Pen F. Apart from having different image sensors, they are functionally almost identical. Did Olympus supercharge the EM5 II by upgrading an already capable 16MP sensor to the new 20MP sensor? The next step was to add new and powerful Creative Color Features to Workspace and the Olympus Pen F and EP-7. 

It would have been nice to have more information on the older E-400? This is another one of those unique E-Series cameras with its 10MP CCD sensor. It's the only Four-Thirds camera with a 10MP CCD sensor that also differs from the older CCD sensors. See this article for more information. I am fortunate to still have most of these unique DSLR and M43 Olympus cameras.

Olympus E510 w 14-54mm f2.8-3.5 - ISO100, f10, 1/160 (All edited with PhotoLab 3 + PS + Ilford Pan 100).

Olympus E620 w 12-60mm f2.8-4 lens - ISO640, f3.9, 1/100 (Raw edited in PhotoLab 4 + KodakChrome 64).

Olympus E410 with 14-42mm w Kit lens - ISO100, f4.5, 1/40 (PhotoLab 3 with Kodak Porta 160).

Olympus E410 w 14-42mm kit lens - ISO100, f8, 1/160 (Edited with PhotoLab 3 w Agfa Vista 200).

DxO FilmPack 5 is one of the most edit-friendly filter software packages. It's possible to quickly create an analog film look with the different FilmPack film profiles. For example, use the exposure techniques in my articles to record high-quality jpegs for FilmPack 5. For more info, see this video.

It's possible to apply film profiles to jpeg and raw files in DxO FilmPack 5. Photographers preferring jpeg files can open the image in FilmPack, readjust any ETTR adjustments, and add color corrections. Next, you will apply your analog filter. FilmPack also allows us to fine-tune these filters and save them as film or analog profiles. That means you can create a specific image look in FilmPack 5.

Olympus E450 w 18-180mm f3.5-6.3 lens - ISO100, f9, 1/320 (Edited with PS + Kodak Kodachrome 64).

Olympus E410 w 14-42mm Kit lens - ISO100, f9, 1/250 (PhotoLab 3 and Kodak Elite ExtraColor 100).

Olympus E450 w 18-180mm f3.5-6.3 lens - ISO200, f5.6, 1/160 (Edited w FilmPack Kodak Kodachrome 64).

DxO FilmPack is perfect for the photographer using jpegs with basic editing needs. The DxO film profile adjustments are flexible enough to let them have more personalized image results.

It has a basic exposure panel with some adjustments plus curves. It also has basic creative sliders plus the ability to simulate some lens filters. Image editing can't be easier this this.

Olympus E620 with 12-60mm f2.8-4 lens - IS=160, f4.5, 1/250 (Raw edited with PhotoLab 4 + Fuji Velvia 50).

Olympus E620 w 12-60mm f2.8-4 - ISO3200, f2.8, 1/8 (Raw edited in PhotoLab 4 w DeepDive Noise removal, no filter applied).

Olympus E3 with 14-54mm f2.8-3.5 - ISO100, f8, 1/100 (JPEG Cropped in PS - no filters used).

Olympus E400 w 14-42mm kit lens - ISO100, f8, 1/6 (Edited in PS + Luminar 4 + Kodak B&W filter)

The panorama below consists of 4 jpegs from the Olympus E-520. I combined the images in Photoshop. Adobe did a great job of improving the Photoshop panorama function. The "new" content-aware function makes it more fun to create panoramas. It's great to take panorama sequences from 2009, build panoramas in Photoshop, and do the final finishing touches with DxO FilmPack. 

Olympus E620 w 14-54mm f2.8-3.5 lens - ISO100, f7.1, 1/500 (Edited in PS + Luminar4 + Kodak Ektar 100).

Olympus E400 w 25mm f2.8 lens - ISO100, f7.1, 1/100 (Jpeg edit in PS raw, Luminar 4 + Fuji Provia 100).

Olympus E520 w 14-54mm f2.8-35 lens - ISO200, f13, 1/180 (Edit in PS, Luminar, Agfa Rollei 100 B/W 400).

Olympus E520 w 14-54mm f2.8-3.5 - ISO200, f13, 1/250 (Edited in PS + Kodak KodaChrome 64).

The HDR below consists of 3 bracketed images from 2011. It's a winter scene with random snow. The clouds with the disappearing sun were unique, whereas the rest of the scene were dull and boring. I used three +/- 1EV bracketed images and merged them in Aurora. I then edited the result in Luminar to create a more 3D effect. I did some additional styling in Photoshop to lift the mid-tones while keeping the clouds as is. I added a film profile with FilmPack 5 in the final step.

Olympus E400 w 14-42mm Kit Lens - ISO100, f8, 1/5 (3 image HDR in Aurora w Fuji Provia 100F).