How to use the Color Creator?

Last Updated:- 3rd February 2023.

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 it 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 when I realized how much Fuji photographers do with less. More about this in a future article.

Try the following exercise with your Color Creator.

Select a similar image from your collection and recreate the above color and ambiance for your photo. Use a raw image 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) cameras from Olympus.

Start by identifying the colors in your image when it's your first time. 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 found yellow and blue with the above method and selected yellow for the opening example. Be aware of creating color casts with colors not found in the photo. That said, the Color Creator is good for removing color casts. Photographers might also prefer specific color effects.

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 color creations, and I prefer the Adjust Color tool for Color Grading or 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 for the Color Creator. The next step in the above example was to "create" orange 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 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.
• Focus on the colors below and opposite the color pointer when turning it.
• The vivid "slider" creates 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 cases, 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.

We can change the Color Creator settings with the Enhanced Raw Format. Activate the Color Creator in WorkSpace to see the color effects you created 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 use 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 a Soft Look ART filter to create the soft 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 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 the WB 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:- 5th May 2024

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

I've been having fun editing my older DSLR raw and jpeg files. All the images in this article were edited in Photoshop or PhotoLab. I used DxO FilmPack to add an analog film look to each image. Many of the photos were taken with E-Series DSLRs.

It's now possible to extract more data with the newer iterations of Photoshop, DxO, and Workspace. They literally make older raw files shine again...

It is surprising to see how effective these raw converters are today. Looking at the results, PhotoLab is a step above the rest when converting Olympus raw files. The dedicated DxO lens database is the key to this performance. 

Now is the time if you have a collection of raw files waiting for the right Raw Converter. I kept reworking my older raw files and only got satisfactory results when I purchased PhotoLab. DxO also improved its editing sliders in newer versions of PhotoLab.

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 an E-410 with 14-42mm and 40-150mm kit lenses. My previous DSLR was a Canon 350D and a PowerShot G7 compact camera. I had good results with Canon. When I bought the Olympus E-410, I was surprised to see how well this tiny camera performs.

The image below was taken with my tripod and 3 bracketed images. I created the HDR in Photoshop and the film profile with FilmPack 5. I added specific details below each image. Click on any image to see them 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).

Almost all photographers will agree that the Pen-F is one of the most exciting creations from Olympus. It wouldn't surprise me if they become collectors' items. Following them on the secondhand market, I noticed they are nearly more expensive than the original selling prices.

I have been using my Pen F with 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 should 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 or E-330? 

Were they tasked to create DSLR cameras that should shift film or analog photographers toward digital cameras? When last did you use an older E-Series camera? Did Olympus continue this strategy with their mirrorless cameras, or are they now focussing on digital 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 the 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 more powerful and Creative Color Features to Workspace and the Olympus Pen F. 

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 a 10MP CCD sensor. It's the only Four-Thirds camera with a 10MP CCD sensor. I am fortunate to still have one of these unique DSLR 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, record high-quality jpegs for FilmPack 5 with the exposure techniques in my articles. For more info, see this video.

It's possible to apply film profiles on 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 its filters and save it as a new analog profile. That means you can create your own 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 who uses jpegs and does basic editing. The DxO film profile adjustments are flexible enough to let them create a personal image look.

It has a basic exposure panel with some adjustments plus curves. It also offers basic creative sliders plus the ability to simulate some lens filters.

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 its panorama function. The "new" content-aware function also makes it easier to create panoramas. It's great to take a panorama sequence from 2009, build a panorama in Photoshop, and do the final finishing touches in DxO FilmPack 5. 

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 was 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 3D effect. I did some additional editing in Photoshop to lift the mid-tones while keeping the clouds as is. I added a film profile with the FilmPack 5 plug-in with the final step.

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