We reviewed the Olympus Creative Color strategy in the first three articles of this six-part series. We learned that a complete version of the Creative Color package is available with the Pen E-P7, Pen F, OM-3, and Workspace. We studied the basic principles of color, the standard color wheel, and color harmonies. We also saw that our Color Creator, Monochrome, and Adjust Color adjustments are part of the Enhanced Raw Format and available for raw conversions in Workspace. This is huge.
Olympus EM1 with Lumix 14-140mm MKII - ISO200, f9, 1/800 - Enhanced Raw converted in WS, Soft ART filter, Color Creator, Curves, Clarity, Contrast...
This article focuses on the Adjust Color function of the Pen F, E-P7, OM-3, and Workspace. You will learn more about these cameras, Color Profiles, and Workspace. The camera's TruePic ART Processor (Fig. 1) manages the creative color features of these cameras and Workspace.
We can also create unique color profiles with camera settings like Picture Mode, Saturation, Contrast, WB shift, and Sharpness. The Pen-F, EP-7, and OM-3 are unique because the Adjust Color and Monochrome functions are designed to target specific colors. I don't know of any other digital camera that can adjust specific colors. They are all designed for global color adjustments.
The image below shows the raw file on the left and the converted photo on the right. The inserts show the camera settings on the left and the Workspace adjustments on the right. We can save these raw file adjustments as a "Color Profile" with the Workspace batch-processing option. We can apply these batch-processing files to other raw files or share them with friends and colleagues.
In other words, you can share your Workspace editing steps with a friend.
It's good to plan and experiment with these "color profiles." The Adjust Color function could be one of several variables in a batch-processing file. Batch-processing files can also be specific to JPEG, RAW, or Workspace. For example, I keep separate folders for my JPEG and RAW profiles.
The reasons are the following:
JPEG Profiles - JPEG Profiles are not compatible with RAW files.
RAW Profiles - RAW Profiles are not compatible with JPEG files.
Workspace Profiles - It has more options than the Pen F, E-P7, or OM-3.
For more information on saving Olympus' image settings in WorkSpace, see my how-to page (Tip 5). The Adjust Color function targets specific colors and not a selection of colors (global colors) like the Color Creator, WB compensation adjustments, or Workspace Color Filters. The Adjust Color function gives us more creative control over colors or color harmonies than the Color Creator.
I converted this OM-3 Enhanced Raw File with Workspace and the Color Creator.
The following features can be included in Color Profiles:-
Global Colors with the Color Creator (most OMD and Pen cameras),
Global Colors like WB settings, WB compensation, and Color Filters (WS),
Workspace Red, Green, and Blue (Tone Curve) adjustments (global colors),
Black and White and Monochrome profile functions (targeted & global colors),
The Adjust Color function (Pen F, E-P7, OM-3, and Workspace (target colors),
Basic camera editing settings like sharpness, contrast, and saturation (as others),
Tonal Adjustments (Gradation, highlight, mid-tone, shadow, and Tone Curve).
Workspace has more functions like dehaze and clarity that can be included in a batch processing file. The examples below are basic raw conversions with Workspace and the Color Adjust function.
Example 1. Saving my raw conversion as a batch-processing file.
The following profile is compatible with Pen, OMD, and OM cameras. One can also save these settings in one of the camera's Custom Modes. The key to creating color profiles is practice, patience, and small adjustments. The profile below can be saved in Workspace and applied to other raw files.
Example 2. Saving Monochrome and Adjust Color raw conversion settings
I converted the following enhanced raw file with Workspace. The first image is a camera JPEG, the second is an Adjust Color profile, and the third is a Monochrome profile. Workspace raw conversions are ideal for improving your Adjust Color and Monochrome skills with the Pen F, E-P7, and OM-3. My image results with these cameras improve with each raw conversion I do with Workspace.
Olympus Pen F with the 25mm f1.8 M.Zuiko lens. ISO200, f8.0, 1/250. I converted the Enhanced Raw File in Workspace.
See the "Color Profile" data below.
I applied a S-Curve with the Workspace Tone Curve.
See the Monochrome data below.
I applied a S-Curve with the Workspace Tone Curve.
Here is a list of the other articles in this six-part series:
A new Creative Color Strategy from Olympus - Part 1
Olympus EM1 II and 7-14mm f2.8 M.Zuiko Pro lens - ISO64, f8, 1/160 (Edited in Viewer 3)
Introduction to Olympus cameras
Hobby photographers work hard on portrait shoots or when asked to photograph a wedding or photo event. They will consider and discuss portrait locations, colors, and the clothes clients plan to wear for an event. This article reviews the different creative color options we have with Olympus.
The first article in this series hinted that photographers focus too much on specifications (The sensor, image processor, and lens). For instance, most digital photographers focus on Dynamic Range, perfect image quality (details), perfect lenses, no noise, and absolutely NO highlight clipping.
It is OK to ignore those "perfect" specifications and regard your camera as the ultimate creative tool. You should always experiment with your camera to develop your unique skillset. That said, it's no secret why younger photographers
dominate social media with mostly their mobile phones.
Olympus OMD and PEN cameras, plus Workspace, offer several creative options. Knowledge, patience, and practice are all we need to create wonderful impressions of our daily experiences.
List of Olympus' Creative options: (All of these are available with the Pen F & EP-7)
ART Filters (EP-7 offers the ultimate ART filter control)
SCN Modes (Pen F, you need to assign SCN modes to C4)
Color Creator (Pen-F - Creative Dial, EP-7 - AP Button)
Color Profile (Pen-F - Creative Dial, EP-7 - Color/Mono Lever)
Different White Balance options & fine-tuning options
Shadows, mid-tones, and highlight control (Tone or Gamma Curve)
Several options to adapt SCN and ART filters
Various in-camera HDR Modes
Video and Time Lapse options & filters
Multiple images and the Image Overlay function
Several blue-hour options or long-exposure photography options
High Res Imaging - (Pen F only - Functions also as a creative option)
Standard image adjustments (Saturation, Sharpness, Contrast)
Gradation or SAT (High Key, Low Key, Normal, and Auto)
In-camera RAW editing (other editing options also available)
My Clips video mode (including slow motion)
Image storytelling with different image templates - Pen F
Standard PASM exposure and iAuto modes
e-Portrait for softer skin tones
Various Bracketing options (HDR, Focus Stacking, and more)
Multiple Flash photography options
A quick introduction to Color with Olympus
Olympus used the standard Color Wheel to create functions like Color Adjust and the Color Creator. That means we can access lots of information and experience about the Color Wheel. It was a steep learning curve, familiarizing myself with new color concepts, like Color Harmonies. The Enhanced Raw Format and Workspace made it easy to experiment with these new color functions from Olympus.
When Olympus introduced the new EM5 II, the Color Creator looked like just another "gimmick." Like any new function, I did not immediately see the value in the Color Creator. I only started using the Color Creator after studying basic color concepts like color harmonies and opposite colors. The more I use the unique Olympus color features, the more I see the value in having them.
The above illustration shows the standard "Olympus" Color Wheel. The outside diameter has different colors (hues) at 100% saturation. This color wheel is based on the Additive Model, which desaturates and goes white in the center. The primary colors are Red, Green, and Blue, and the secondary colors are Magenta, Cyan, and Yellow. I also marked monochrome colors on the outside diameter. One half shows warm colors, and the other half shows cold colors. I also added Olympus' White Balance information on the Color Wheel. This lets us pre-visualize white balance selections, like CWB (Custom White Balance), and the effect it will have on the image. You will also find the White Balance compensation "sliders" on the Color Wheel. You are welcome to download and use the color wheel.
TIP: You can select the Color Creator from the SCP or Picture Mode.
The Color Wheel helps us identify color harmonies (further down), such as complementary or primary colors. Most OMD and PEN cameras come with the Color Creator function. The Color Adjust function is unique to the Pen F, E-P7, and Workspace. It's good to practice pre-visualizing Color Creator and Color Adjust image effects. Use Workspace to improve your skills with the Color Wheel.
I was introduced to color harmonies when I did my first website in 2007. Some designers say color has a more profound impact on people than content. Golden sunrise or sunset scenes create positive emotions, and pastel colors are more pleasing than bright colors to younger viewers. Would German car owners have different color preferences to US drivers? Do you only focus on the subject, or do you treat background colors as an integral part of the final image?
Why do we have RGB, CYM, or RYB color pallets? Red, Green, and Blue (RGB) are the Primary Colors in the above Color Wheel, and Cyan, Yellow, and Magenta (CYM) are the Secondary Colors. It's important to master the Color Wheel. The video below is a short summary of the Color Wheel.
An interesting video explaining the standard Color Wheel.
Opposite Colors play an important role when managing image colors with Olympus' color features. For example, the Color Creator and the White Balance functions use Opposite Colors. How do we identify color casts, and how do we correct them? Opposite colors will correct color casts. The difference between photography and videography is that photographers pivot neutral colors, and videographers use unique Color Profiles to create a specific atmosphere or emotion in the scene or movie.
Photographers typically use subtractive or additivecolors. Electronic equipment (TVs) uses RGB colors to create images (frames). This is referred to as an Additive System. When illuminated, CYM colors reflect the light (Luminance) from paint or printed media. This is called a Subtractive System.
How do we apply these two color models in digital photography? The image signal (Reflected Light) passes through the lens and consists of additive colors. The sensor captures reflected light, and the image processor converts it into RGB colors. Your PC screen uses RGB colors to display color.
How do we improve our creative results when the sensor receives both reflected light (luminance) and incident light? Do these two image signals have different WB values and colors?
What happens if we mix RGB and CYM colors equally? The resulting RGB mix will be white, and the resulting CYM mix will be black. See the above illustrations. Also, see this article. What other Color Combinations are available to Olympus photographers? Consider the Color Creator, White Balance, and opposite colors. See this website for more information about color harmonies (palettes).
The above illustration shows 6 Color Combinations:primary, analogous, secondary, complementary, intermediate, and split complementary. Photographers apply color combinations to create or focus on harmonizing the colors in the photo. They also use complementary or opposite colors in projects when targeting more than one color. Magenta, green, yellow, and blue colors are complementary colors. Yellow with green or red with magenta are analogous colors.
Why would photographers apply color casts? Color helps photographers to create specific emotions or emphasize unique situations. For example, we can set our Olympus cameras to warm or neutral colors in artificial light. We can also correct a warm color cast with the Color Creator. The Color Creator reminds me of the Fuji "Chrome" effect. Try and simulate Fuji Chrome effects.
Olympus E-620 and 12-60mm Zuiko lens. I converted the Enhanced Raw File in Workspace. I then applied a color profile to the Tiff file.
Tiny color adjustments are more effective than large...
It's good to apply small adjustments with the Color Creator. Start by scanning the colors in the scene and select those you like to work with. Select a color (or the opposite) on the Color Creator and visualize the effects before making adjustments. The Color Creator has 30 colors with 6 adjustments each. That means each step creates a 15% difference. These are NOT tiny increments.
Editing with WorkSpace is a great way of familiarizing yourself with the Color Creator, the Color Adjust function, and the Monochrome Profiles. The visual feedback from Workspace is also superior to the camera's display. It's simply impossible to effectively practice with the camera display.
Different or unique Image manipulation options
I created the above image with selections and partial Photoshop editing. The yellow subject (car) in the front was done separately from the background. The final image has a bright and saturated kiosk against a desaturated background. While Olympus didn't give us partial editing options, it is possible to simulate this street photography scene with the Olympus Color Creator.
How to create image effects with the Color Creator
The Color Creator works well with opposite colors. One would start by targeting specific colors. This could be the orange cast of a sunrise or sunset, or the greens of a forest. A quick test is to change the targeted color's vividness with a few +/-1 steps. Study the effect and select the final color combo for your scene. It's good to develop a feel for working with opposite colors.
See the following examples of using opposite colors:-
The above image has 2 dominant colors. Both can be used as opposite colors. I targeted the color blue in the above example. This increased the saturation of the targeted color (blue), whereas the opposite color (yellow) is desaturated. These changes will increase with each +/- VIVID adjustment.
I targeted the color blue in the above example. This changed both the sky and the tree (leaves). The sky is brighter with a chrome effect, and the greens are desaturated (like a cold color cast). The best way to familiarize yourself with the Color Creator is to practice in Workspace. For example, the Color Adjust function helps us to practice finding specific image colors on the color wheel.
The target color was yellow in the above example. This means blue is the opposite color. You can test your knowledge by explaining the color effects in the above image. The result is the opposite of what we saw in the first example. We can do similar experiments in Workspace.
I increased the targeted color's vivid setting (Saturation) to +2 in the above image. This amplified the yellows in the above example. Small steps per adjustment create optimum results with any of the Olympus creative color tools. The above example also shows the Color Creator's effect on the adjacent colors to the left and right of the targeted and opposite colors.
The above example is an interesting iteration of the others. The Color Creator creates global effects, and the Color Adjust function targets specific colors. You, as an artist or creator, decide when to switch from one to another. That said, you might like to control the Color Creator effect. For instance, I upped the Color Creator's VIVID setting to +3 and used my WB compensation sliders to control the effect on the sky (blue color). See this article for more info about the Color Creator.
Here is a list of the other articles in this six-part series:
A new Creative Color Strategy from Olympus - Part 1
Cape Town (2013) - Taken with the original OMD EM-5 and the MZuiko 12mm f2.0 Lens
Was Olympus too confident when they launched the Pen F or was the new Color and Creative strategy a natural progression for Micro Four Thirds? Do you think M43 photographers were ready for the Pen F? Let's compare similar features between different brands? For example, how does the Olympus Pen-F compare to the Fuji X100F? A fair comparison requires good knowledge of the different cameras. Do you expect to get any value from a comparison like this or is the Pen F too different?
We will discuss different cameras in this article. I have experience with Panasonic, Olympus, and some Fuji cameras. I have a Canon 6D II and used the 350D, 40D, and Powershot cameras. I do not have experience with Nikon. Fortunately, my son used Canon professionally, and in 2016 he changed to Sony. I used the A7 II and the A7 III for a few months and tried his A1, A7R IV, and A7S III.
I decided to target cameras from 2016, like the Nikon D500, Canon 80D, Sony A7II, Panasonic GX8, and the Fuji X-T10. Please let me know if I misrepresented anything about these cameras.
I was surprised at the different priorities of these manufacturers after studying the various cameras. Especially the differences in configuring these cameras and advanced features. At the same time, basic adjustments like white balance and shifting the white balance are similar for each camera. It's fascinating to see photographers and videographers create new color effects with basic in-camera adjustments. It's also interesting to see the influence "Color Science" has on brand loyalty. For example, which of Fuji, Canon, or Olympus has the best "Color Science" in 2025?
The goal was NOT to determine which camera is the best...
My goal was to compare the creative features of each brand. Take a few minutes and watch the video below. Listen carefully to how they revealed their personal brand loyalties, and how this influenced their objectivity. It's fun and entertaining how they compared these cameras "objectively."
Comparing the Canon 5D IV and the Sony 7RIII.
It's critical to measure accurate White Balance values and the impact this has on color accuracy. This is well explained in the above video. The video illustrates the critical aspects of comparing variables like color, autofocusing, camera exposures, and White Balancemeasurements.
Why is the White Balance so important?
Accurate image colors start with Exposure settings and White Balance measurements. It's important to understand the differences between Creative and commercial applications. My focus is creative photography. See this article for more information about the Olympus Gradation Function.
The first article in this series explained the image processor's role in the image creation process. The camera uses the WB setting to create the final image. Experienced photographers know how to spot Color Casts or faulty white balance settings. Each photographer should practice the art of spotting or identifying color casts. WB measurements are not only critical for digital cameras but are also critical when converting Raw Files. It's also critical to master the camera's exposure meter.
Filming highlights the importance of knowing your camera's white balance and exposure settings. For example, see the evolution of cameras like the Panny GH7. The video below shows how videographers applied their in-camera adjustments to create unique "color profiles" for older DSLR cameras.
The takeaway from the above video is that most photographers prefer a unique style,
signature, or brand. The reason is customers like to know what to expect from
photographers. An inconsistent photography style is "unprofessional."
Videographers differentiate between in-camera color features and color grading the video in post. Each photographer should master in-camera color adjustments and the ability to edit or color-grade images in post-processing. I found the following video while searching for information about Canon. It's an example of how to apply digital cameras and traditional color adjustments to create in-camera color profiles. Does the video apply to photos? Yes, only the terminology is different.
White balance measurements are critical for having accurate image colors. Many photographers use the WB compensation sliders to create color effects. The first step in successfully applying color is knowledge. Practice how to read color or white balance settings in different situations. For example, will two or three light sources (sunlight and reflected light) affect the camera's color?
The White Balance setting impacts JPEG colors. All White Balance and WB compensations
can be corrected in Workspace. This allows photographers to safely experiment.
Below is a summary of the comparison I did for different cameras. I bundled the color features into groups. The standard in-camera adjustments are at the top and all the specialized features are at the bottom. I listed the software options at the bottom. Click on the image for a large view.
Most camera manufacturers had excellent image quality over the past 15 years. More pixels increase resolution, not image quality. We also established that the "size and capture" theory is a marketing strategy to sell full-frame cameras. We also know all image sensors come with a noise floor. We also know it's possible to manage visible image noise with the SNR-to-ISO ratio. The main difference between cameras are unique camera features and dust/water protection which improve your hit rate in different situations. The challenge is to have the right camera for the job...
Here is a list of the other articles in this six-part series:
A new Creative Color Strategy from Olympus - Part 1
Olympus presented a new Range Finder camera during a January 2016 press event. It's interesting to review the M43 communities' reaction versus what we learned about the new Olympus "Creative Color and Computational" strategy that made the Pen F so unique. The M43 community was surprised by the new Creative Dial because they expected a camera with more megapixels, a faster image processor, and more Pro lenses. Let's explore this unique strategy Olympus cemented with the Pen F.
Social media photographers reacted by saying they prefer Photoshop and don't need the Creative Dial or the Creative Color strategy. Looking back at my own experience, my initial barrier was a lack of creative photography and not knowing enough about color. The artist Color Wheel was new to me, and I had little experience with Olympus ART filters or using color and monochrome profiles.
The fascinating part is that the Pen F became a popular camera. It's sought-after today, and used prices are high for a 2016 camera. What are the reasons for its popularity? It's difficult to say whether it's the Creative Dial or the unique Color and Monochrome functions. The closest alternative is the E-P7. In fact, the Pen E-P7 is a streamlined version of the Pen F with some exciting improvements.
The revolutionary Olympus PEN F - the camera that separated creative photographers from the rest.
This 6-part series reviews the importance of developing your creative and color skills. I am focussing on the Pen F, E-P7, and Workspace to assist Olympus photographers in exploring the Olympus Creative Color strategy. The current update to this 6-part series is 7 years after the first iteration in January 2018. My experience with Creative Color techniques improved over the past 5 years as it became part of my daily photography with Olympus Pen F, E-P7, OMD cameras, and Workspace.
Here is a list of the other articles in this six-part series:
A new Creative Color Strategy from Olympus - Part 1
Discussing Olympus' Color Profile Function - Part 4
Examples of Editing Images with WorkSpace - Part 5
Color and Creative Photography with Olympus - Part 6
Would you say the Olympus Pen-F and E-P7 are popular cameras, or will they only become a faint memory? The Pen-F was a success judging by its popularity and the high prices enthusiasts are paying. My articles about Creative Color and Computational Photography are my most-read articles.
See this article discussing the Olympus Color Creator.
Olympus Color Creator
Some reviewers praised the PEN-F with comments like a "Gold Award Product, Great Product, Editors Choice, Remarkable, Great Design, and Retro Design." Other reviewers evaluated the Pen-F through the lens of "must-have" marketing "filters" like sensor size, image noise, dynamic range, articulated display, and EVF resolution. Most forum experts followed the latter group and complained about the placement of the Creative Dial, the lack of 4K, and no MIC input and Headphone output.
Olympus PEN F Creative Dial was too much for most...
Olympus was always known for its unique film-like photos, Canon for its color "science" and silky smooth images, Nikon for the D4 and the popular D850, and Sony for its A7 full-frame cameras with high-resolution Stacked BSI sensors. Fuji created a large following with the XT-Series and became a leading manufacturer of "old school" mirrorless cameras with great film simulations.
Olympus never supported the "size and capture" theory but developed innovative photography options like Creative Color and Computational photography. If you recall, Olympus placed IBIS on the map and was the first to introduce High-resolution photography with the E-M5 II and a working Live View with the E-330. Olympus and Panasonic shared the same vision by launching the M43 mirrorless segment in 2008. Today all cameras are mirrorless, and Canon and Nikon DSLRs are forgotten, used cameras. The Olympus brand is associated with innovation, new technologies, and quality cameras.
EM1 II image edited with WorkSpace.
This 6-part series will teach you more about the Olympus Creative Color functions, such as the Color Creator, Color Adjust, and Monochrome Profiles. Photographers will also learn more about the reason and value of Olympus selecting the artist Color Wheel to manage their color features.
How does the camera create photos with the Image Processor?
Only some photographers know the image sensor records "black & white" data. To explain this, we will take a closer look at the image signal path from the subject to the sensor:
The image signal enters the lens and goes through the lens to the image sensor
At the sensor, it goes through an RGB filter to remove all the color (RGB) data
The image sensor records the remaining grayscale data and sends it to the CPU
The CPU processes the WB, RGB filter info, plus the sensor data into a Jpeg file
The only "Color" Variable photographers could control is the White Balance
Digital Camera Sensor and RGB Filter.
Let's review the image signal from the sensor to the SD card. The sensor's recorded grayscale data is converted to a digital image and saved on the camera's SD card. That means the TruePic Processor, not the sensor, creates the digital image from the sensor's recorded Image data, WB data, and RGB filter information. Why is this description important? Because it explains how the Olympus engineers designed a new, creative color and tonal (Gamma) curve feature set with access to the TruePic and Workspace imaging processors. Creative Color functions such as the Color Creator, Color Adjust, Monochrome Profiles, and Tonal Adjustments are now part of the Enhanced Raw File.
The above description explains the Olympus RAW file. A basic RAW file consists of grayscale image data, RGB filter, and the camera's White Balance information. The TruePic Image Processor (CPU) or Workspace converts this raw data into a JPEG image. One of the best-kept secrets is the proprietary Color profiles manufacturers use to convert raw data into a digital photo. The inclusion of AI in future camera image processors will destroy the unique supplier image "look and feel."
Figure 1
The regular use of my Pen-F, E-P7, and Workspace gave me enough experience to comfortably use the different Olympus Color, Tonal, and Creative features. This includes tweaking the camera's image-creation process via the TruePic ART Processor or Workspace. Olympus gave us a new window into the camera's image processing sequence. Also known as Live View editing in Workspace, this is one of the most exciting lessons I learned with my Pen-F and Workspace. This experience means a new photography workflow with Workspace, OMD, and Pen cameras.
Knowing this, it's even more significant how Olympus linked new features like the Color Creator, Tonal Curves, and the Creative Dial to the TruePic image processor. This gives photographers a unique photo creation experience and results with cameras like the Pen F, E-P7, and OM-3. Did OM System squeeze the OM-1 II into a smaller body, or is the OM-3 a continuation of the Pen F?
Knowledge of B&W and the early days of color photography is enough to appreciate the digital imaging process. Olympus linked its Color and Monochrome profile functions to the camera's image processor. This determines how future Olympus (Pen F) photographers grow into a unique photo style. We now have tremendous control over the final JPEG image with Olympus cameras.
The PEN-F and E-P7's color and monochrome functions are replicated inWorkSpace (WS). In fact, WS and the TruePic image processor are basically the same thing. Olympus introduced a completely new digital photography concept. The mainstream view is that sensors do everything, and all photographers need editing software like Photoshop, PhotoLab, ON-1, Luminar, or Topaz.
Taken with the PEN F at island Mainau, Bodensee.
The secret to growing with the Pen F, E-P7, and OM-3 is to add these Creative, Tonal, SAT, and Color options to your daily photography. Pen F enthusiasts enjoy a more hands-on experience with these creative features. The first step is to master the flow diagram in Fig. 1 and the Color Wheel.
What is the catch? There is no real catch, only some weaknesses. The biggest weakness is we cannot edit or change parts of the image in the camera or WS. OM System has a limited solution (OM-1 II and OM-3). An ideal solution would be the ability to isolate objects from the graduated ND filter.
There are more videos on YouTube explaining the artist's Color Wheel. Please take the time to study the basics of "painting with light" and Color Control. The presenter in the video below is a well-known Photographer. The Color Wheel is the foundation to master your Pen F, E-P7, and OM-3.
Powerful video explaining the Color Wheel and photography.
