How to create color profiles with ART filters

Last updated:- 19th August 2025

It's good to sense more enthusiasm for creative color, ART filters, and profiles among photographers with the Pen F, E-P7, and OM-3. I've never seen such a surge of positive feedback about ART filters and the various Olympus color options as I have in the past six months. It's remarkable to think that Olympus first introduced ART filters in 2008 with the E-30. The Pen F subsequently became a sought-after camera for creative and street photographers, and by 2025, the Olympus E-P7, Workspace, and the Ol.Share app continue to be popular choices for hobby and creative photographers.

Tip: This article and images are best viewed on a large display.

I had never thought of Olympus ART filters as a way to craft distinctive and vibrant profiles. While I was aware of the enhancements added to the E-P7, I overlooked the extra flexibility that comes with adjusting ART filters, both in-camera and with Workspace. The more I explore Olympus cameras and Workspace, the more I appreciate the incredible capabilities of these amazing M43 products.

Photographers can adjust nine of thirty-one ART filters with the E-P7. With the Pen F and the OM-3 it's none, and with the EM10 IV it's two. Both the E-P7 and OM-3 enhanced raw files have access to all nine adjustments in Workspace. All JPEG and TIFF files have access to these adjustments.

Olympus E-450 enhanced raw file converted in Workspace (Soft Focus, tonal curve, color filter, time of day).

Tonal adjustments are a great editing option for cameras without these in-camera ART filter options of the E-P7. The Enhanced RAW format also lets us blend ART filters with other color adjustments. For example, successfully editing watercolor ART filters requires tonal adjustments to create white and black backgrounds, along with fine-tuning image colors with the Adjust Color tool.

See this article for more about the exposure mix versus tonal adjustments.

See this article for more about Workspace.

If you've been reading my blog for a while, you know that I encourage photographers to create their own profiles. Workspace is crucial for learning more about creative color, ART filters, the Color Creator, and how to create color profiles. The camera display is too small for this kind of editing. It's much easier to apply proven editing techniques directly to the camera while shooting.

While I enjoyed Photoshop, I cancelled my subscription because the renewal was just too expensive. I tried a number of editing software options in an effort to replace Photoshop. I decided to get and focus on Affinity Photo 2 in the future. While evaluating other editing options, I was lost in all the profiles, LUTs, presets, and whatever AI features these modern editors offer us. I can do everything I need with Workspace, and like Photoshop, Affinity Photo offers me that little extra.

Each image in this article features an ART filter that was edited in Workspace. Some were done with the "E-P7" ART filter option, and others with effects and tonal adjustments. Olympus and OM System photographers enjoy much freedom while expressing their creativity with ART filters.

It doesn't take much effort to spend hours with Workspace and ART filters. With a little practice, it's much quicker to convert your thoughts into works of art. Testing several cameras, I can confirm that we can adjust these same 9 ART filter options in Workspace for the OM-3 and newer TruePic VIII and IX Olympus cameras such as the E-M1 III, E-M5 III, E-M10 III, E-M10 IV, and E-PL9.

Olympus EM-10 IV with the Lumix 45 - 175mm lens. (ISO640, f5.6, 1/320) Enhanced Raw file converted in Workspace.

I often wonder how much enthusiasm it would have taken for Olympus to grow their creative offer. How will talented photographers and younger generations apply and tweak these ART filters? There is something special about having access to the camera's Art Processor with Workspace.

Pen F (TruePic VII) ART filters does not have this RAW option in Workspace.

Also, see this popular E-P7 article and image collection...

The 8 variables influencing your exposure mix...

Last updated:- 30th July 2025

The advantages of a more inclusive process managing eight variables governing the exposure mix are negatively impacted by competitive marketing strategies, the outcome of changing from analog to digital, and the commercial focus on the sensor. A thorough study of theoretical principles showed that the commercial focus on the sensor undermines the efficiency gains resulting from an improved process determining the camera's exposure and tonal mix. Let's review how this collective process of considering eight exposure variables leads to more consistent digital imaging results.

Most photographers are introduced to digital photography through the lens of the exposure triangle, which defines shutter speed, aperture, and ISO. Photographers are generally advised to keep the ISO low, as higher "sensor sensitivities" could lead to unwanted noise. Aperture and shutter speed ratios not only influence the exposure mix, but they also guide optical effects such as depth of field, while varying shutter speeds are used to express movement. While this explanation is perfectly normal for most digital photographers, the most critical elements of finding an optimum exposure and tonal mix are missing. Why would "experts" constantly neglect to review all relevant information?

This mainstream view of the exposure triangle gave modern marketers a competitive advantage. For instance, would you classify the exposure triangle as leaning more towards analog or digital cameras? It is worth considering that modern marketing programs tend to add elements of truth while omitting critical details. The illustration below is a more practical and detailed flow diagram of what happens inside the camera as the image signal enters the lens and passes through the camera.

Figure 1.

Most digital photographers are familiar with the journey of mastering the dual purpose of the shutter and aperture mix. Achieving a perfect exposure mix includes optical effects such as background blur or the interpretation of moving objects, which demands both experience and regular practice to eventually become a natural routine. You may be surprised at how quickly one learns to add sensor and gamma controls to this traditional process of finding an ideal exposure and tonal mix.

The eight exposure variables affecting an optimum exposure mix and tonal response:

1. Each digital camera (sensor) has unique technical and optical limitations.
2. There is way more to the camera's sensor than its diagonal measurement.
3. We use the aperture and shutter to expose and saturate the image sensor.
4. The ISO amplifies the image signal; it does not adjust sensor sensitivity.
5. It's crucial to know more about the sensor's noise floor, saturation, and SNR.
6. Consider and manage the 4th exposure variable: Average scene luminance.
7. Managing the camera's sensor improves dynamic range and reduces noise.
8. The unique differences between the exposure mix and tonal adjustments.

I converted/edited this EM5 II enhanced raw file in Workspace. I used tonal adjustments to finalize the look.

The flow diagram in Fig. 1 illustrates the image signal path from the lens to the final JPEG. My advice is to familiarize yourself with this illustration. The following points are helpful:

• The shutter and aperture control the reflected light to the sensor.
• Manage the avg. scene luminance with a flash, diffusers, or time of day.
• The ISO amplifies the image signal and noise from the image sensor.
• The TruePic image processor manages the image creation process.
• The gamma curve converts linear sensor data to a "human" format.
• The gamma Gradation feature also controls the exposure controller.
• The enhanced raw format links the TruePic processor to Workspace.
• We use a fixed ISO to monitor/control the reflected light to the sensor.
• A fixed ISO means the histogram reflects the shutter and aperture.

A general version of this Olympus information applies to all digital cameras. For instance, similar to the Olympus gradation function, Fuji has DR100, DR200, and DR400, and Canon has the Auto Lighting Optimizer. Tonal or gamma controls are shadows, highlights, and midtone adjustments, plus the tone curve option in Workspace. For more in-depth articles on these topics, refer to this link.

Workspace is a great RAW converter for the Olympus photographer. It has a full range of raw controls and is one of the best options for the Olympus enhanced raw format. I also prefer the AI noise filter applicable to some Olympus cameras. Workspace is an excellent tool to highlight any image and video quality concerns highlighted in commercial editors. For instance, while Workspace shows NO clipping, other raw converters seem overly eager to highlight overexposed or clipped areas.

Study my articles on exposure and the photons-to-electrons graph and how we apply this knowledge to control the sensor's saturation and signal-to-noise ratio (SNR). The photons-to-electrons graph also explains more about the sensor's noise floor and how we plan/control noise and dynamic range. It also lets us explain sensor sensitivity, or why older Olympus cameras use a base ISO of 100 while others use 200, plus so many more interesting aspects about the sensor and digital cameras. You don't need to trust those claiming the performance of complex electronic components is linked to size...

Recently, I've seen numerous comments suggesting that M43 cameras have lost their size advantage since FF cameras are now nearly the same size. While it's crucial to note the differences in both size and price of professional lenses, a more troubling issue resulting from the smaller form factor of FF cameras is increased operating temperatures. Higher temperatures lead to more image noise.

In the past, I stated that knowledge is enough to significantly benefit your digital photography. I often reflect on that assertion and wonder if I may have been overly optimistic. As I tested various high dynamic range scenes while preparing for this article, I was reminded of how quickly these new sensor and tonal considerations became an integral part of determining my final exposure mix.

I'd like to offer some general advice to enhance your digital photography experience. One key piece of advice is to steer away from forums and camera (YT) reviews, as they tend to be echo chambers that primarily advocate for cameras with larger sensors. This emphasis on the sensor can create the perception that the image sensor is solely responsible for the digital imaging process.

I plan my RAW processing while setting my exposure mix. This includes tweaking my exposure with the camera's exposure compensation slider, or the EC slider in Workspace. This is followed by tonal and color tweaks, including image contrast and sharpness with the tone curve function. The primary goal of tonal adjustments is to highlight the natural lighting variations of the scene.

I converted and edited this EM5 II raw file with DxO PhotoLab 7.

I converted and edited this EM5 II raw file with Affinity Photo 2.

I converted and edited this EM5 II raw file with ON1 (ON1 has several AI editing features).

I also like to highlight another critical aspect of determining your exposure mix. Many photographers underestimate the depth of field advantage of M43 cameras. Selecting the right aperture/focusing ratio is often enough to gain two or more stops from the final exposure mix. This gain simply relates to better control over dynamic range, noise, and the recorded tonal data.

These are the general steps I use to finalize my exposure and tonal mix:

• I mainly use Aperture or Shutter Mode with a fixed ISO.
• Learn how to leverage the DOF benefit of M43 cameras.
• Use IBIS to benefit your shutter/aperture exposure mix.
• This does not mean NOT having the right shutter speed.
• Select the right focus point to extend the in-focus area.
• Practice how to gain 1 to 2 stops without upping the ISO.
• Study this article for more about the Gradation function.
• My final camera exposure settings are 98% optimized.
• This includes specific gradation options for the camera.
• That means I do only small exposure corrections in WS.
• With practice this quickly becomes a natural process...

One image was taken with the Stylus 1s and the other with the EM10 IV. I converted the enhanced raw files in Workspace.

Exposure and tonal adjustments are two different things. The Gradation function does have a link to the camera's exposure controller, which lets it control clipping and alter the camera's gamma curve. Tonal adjustments like shadows, midtones, highlights, and the tone curve option of Workspace allow us to paint with light or manage how people experience the scene's natural lighting.

This is how I configure my Workspace editing pallet. Also, see this link for more information. I updated this PSD file in Affinity Photo 2.

Those trusting the sensor use tonal adjustments to "recover" clipped highlights and shadows, whereas those improving their knowledge on digital cameras apply framing, all four exposure variables, and tonal adjustments. For instance, how do we enhance shadows or low-light information? One option is ETTR, or improving the SNR. Another is a fill-in flash or luminance layering and editing.

How do we assess whether tonal adjustments change the exposure mix or gamma curve? The solution is to create test scenarios with different camera configurations and settings. For example, why does the Gradation function only modify the gamma curve when applied in Workspace?

A final image from the Olympus EM5 II with the M.Zuiko 25mm f1.8 lens. I converted the enhanced raw file in Workspace.

The average dynamic range and noise differences between digital cameras are one to two stops. As one gains experience, it becomes evident that the ongoing sensor debate overshadows the crucial roles of the camera, lens, sensor, TruePic image processor, firmware, and the photographer's role in establishing and leveraging the exposure and tonal mix to maximize the recorded data.

There is so much more to discover when exploring the technical aspects of the image sensor. For example, ISO comparisons are not particularly useful since we can only confirm camera settings and NOT the status of the 4th exposure variable or SNR ratio. I would rather see a detailed review and report on the sensor's sensitivity or photons-to-electrons graph, a camera operating temperature and noise analysis, and a practical and detailed application report of the camera's AF function.

See this link for more about noise and dynamic range variances.

Siegfried

Having fun with the original Olympus EM1

Last Update:- 12th June 2025

Given social media statements and a general focus on sensor size, one would question my enthusiasm for an M43 camera released in 2013. The Olympus E-M1, which remains a remarkable camera in 2025, highlights this distinction. While preparing this article, the E-M1 reminded me why Olympus cameras became so popular. By adopting a philosophy that diverged from the trend of prioritizing the sensor, Olympus acknowledged that all sensors are subject to optical and technical limitations. This mindset empowered the Olympus engineers to develop more innovative solutions to effectively address and leverage these inherent sensor limitations and qualities (strengths and weaknesses).

This article reviews these technical versus optical limitations.

Image noise amplifies the significance of acknowledging the distinction between the sensor's optical and technical attributes. Social media experts often advocate for FF cameras as a quick remedy for noise. Olympus opted to create more efficient solutions because they recognized that all sensors have a noise floor. For example, I rarely need third-party AI noise filters for my Olympus RAW files because knowledge combined with the standard and AI noise filters from Olympus are good enough.

I converted the enhanced raw file in Workspace. The E-M1 has excellent IQ with a natural balance between an analog feel, color, and detail.

In-body image stabilization (IBIS) illustrates how Olympus became a market leader in navigating the technical challenges associated with image sensors. For instance, photographers can achieve up to a 2-stop noise improvement with IBIS and the depth-of-field advantage of M43 cameras. This simply means upping the sensor's saturation and a higher signal-to-noise ratio (SNR). Computational features offer similar benefits. Old-school options, like a tripod let us position the camera more accurately, control camera movement (zoom lenses), and/or increase the reflected light to the sensor.

These basics help us when photographing with cameras like the E-M1, because the E-M1 sensor does have a larger noise floor with more visible noise at lower SNRs when compared to the sensors in the OM-1 and E-M1 III. I used the camera's "Low" Noise Filter for all the photos in this article.

The OM System OM-3 with the M.Zuiko 40-150mm f4-5.6 lens.

This article merely touches on the creative potential photographers enjoy with an Olympus E-M1. It is remarkable that a small M43 camera from 2013 delivers such beautiful photos at current used rates. Notably, many may not know that the Olympus E-M1 received its final firmware update in 2019 and already offered computational features in 2013. I will outline some features that could enhance your macro photography, as well as the photography styles showcased in this article.

The following features are unique to the Olympus E-M1:

• Top-down EVF option - this is unique to Olympus M43 cameras with an accessory port.
• The macro arm LEDs (MAL-1) is unique to Olympus cameras with an accessory port.
• The Photo Story feature of the Olympus E-M1. See the final two photo examples.

Features common to most Olympus M43 cameras:

• ART filters (Several examples were done with ART filters)
• Color Creator (I used the Color Creator with some images)
• 2X Digital Zoom at full resolution
• Color profiles (Adjust color function)
• Black and White or Monochrome options
• Focus Stacking with the E-M1, Photoshop, or Workspace
• LIVE Composite (Painting with light)
• LIVE Time
• Flash remote control (RC)
• Live View Boost
• S-OVF
• Exposure Shift
• Selective AE and AF options
• 2 second timer
• Video

Olympus designed Workspace and the enhanced RAW format as unique enablers for Olympus M43 photographers. They encourage more image and creative control by letting photographers tweak their camera settings when converting Olympus RAW files or editing JPEGs on personal computers. Older M43 cameras like the Olympus E-M1 and E-M5 II share a unique advantage when shifting from a sensor size focus to a more hands-on or practical approach to digital photography.

The original Olympus E-M1 does have a quality concern. Early production runs of the E-M1 had issues with the control dials, leading to failures. In response, Olympus issued a formal notification and provided complimentary replacements for the affected dials. Unfortunately, not all E-M1 owners took advantage of this repair offer. Therefore, it is advisable to verify the status of any used E-M1 dials before purchasing. Additionally, updating the firmware is recommended, as it unlocks more features and functionality. See this article for more on firmware updates.

What is the most important lesson we learn from photographing with the E-M1? Older cameras like the E-P3 or the E-M1 reveal that the notion of achieving perfect image quality is a myth. For instance, when using the E-M1, technical aspects such as dynamic range, noise, and image quality often took a backseat in the creative process. Instead, I found joy in leveraging the E-M1's technical limitations to better express my artistic vision. This approach invites contemplation on the creative possibilities that can emerge when we adopt a similar mindset across all types of cameras.