Workspace and the Enhanced Raw Format

Last updated:- 31st March 2025

This article examines why Workspace is an excellent alternative for processing RAW files and not just another manufacturer solution. My interest is raw conversions and excellent functionality rather than comparing Workspace to raw converters like Lightroom and PhotoLab. Do we really need commercial photo editors or camera options, such as the 'Muted' Picture Mode, to achieve acceptable results? What if Workspace represents an entirely new and innovative approach to converting Olympus raw files? Let’s delve into the unique integration of Workspace with the TruePic image processor.

Is the Enhanced Raw Format real and what are the benefits?

Some photographers question the Enhanced Raw Format because Olympus never formally introduced it. One of the exciting aspects of exploring Olympus cameras is rediscovering the information lost in preparing and transitioning 100 years of innovation, R&D, and camera manufacturing to a new company. Taking a deep dive into how Olympus developed new technologies like the Creative Color strategy, we learn it started with the E-30 in 2008 and took 8 years to come to full fruition with the Pen F. Researching the Enhanced Raw Format I found a technical note from 2017 with Olympus Japan giving a rare insight into the E-M1 II and the TruePic VIII image processor: “The processor features parallel blocks for exposure calculation, color reproduction, and effect synthesis, embedding new and advanced metadata into the ORF file for post-processing compatibility.”

Olympus Pen F and M.Zuiko 12-45mm f4.0 Pro lens. I converted and edited (Adjust Color) the Enhanced Raw Files in Workspace.

How did I learn about this functionality? I knew my camera settings were available in Viewer 3, but the full impact of this new concept flashed on my radar when I found similar features in Workspace. The challenge was documenting and explaining the implications of this unique development while learning and searching for more information. For example, I saw this quote in the 2016 Viewer 3 manual: “You can edit RAW files shot with an Olympus camera and adjust settings like white balance, Picture Mode, and Art Filters as if editing in-camera.” Working with xAI, I found more references like this explaining the Enhanced Raw Format. Is Workspace the Pen F version of this unique development, or did the formal introduction disappear in the transition?

Figure 1.

The Enhanced Raw Format (ORF+) enables us to do more with our cameras, raw files, and Workspace. The key to this unique and advanced raw format is the camera's Exposure Mix, a common processing platform for the Truepic Image Processor and Workspace, and the camera's settings in Workspace. This makes it possible to edit our camera settings with our PCs and Workspace. For example, we can finalize the camera's exposure and Gamma profile in Workspace. That means we can now set the final exposure, creative color, and tonal curve mix (Gamma profile) in Workspace, or the camera. 

The Gradation "High" option selects an optimum ETTR exposure. Consider Gradation as a new variable in the camera's exposure mix and Gamma profile. For instance, ETTR lets us saturate the sensor and improve our SNR. With the ORF+ format, we can determine our final exposure and Gradation settings in Workspace. The Workspace Exposure Compensation slider is linked to the camera's exposure controller and the Normal Gradation option resets the High option. It's a simple process of saturating the sensor in the camera and tweaking our camera settings in Workspace.

Note: The above paragraph describes an advanced exposure technique. It's not something most hobby photographers need on a day-to-day basis. A good understanding of why the above ETTR technique and the flow diagram in Figure 1 are enough to improve your photography results.

See this article about the Olympus Gradation function.

Olympus EP-7 with 12-45mm f4.0 lens. This is the original camera jpeg (ISO200, f5.0, 1/100).

How do Olympus cameras measure exposure? Digital ESP metering measures the complete sensor and not only the selected crop area. This is key because the camera displays only the cropped area. We could use the 4:3 ratio in the camera and select the final ratio in Workspace. This helps us to see exactly what the camera measures. For example, one could find and lock (AEL) a specific exposure by pointing the camera slightly up or down while monitoring the histogram and Live View display.

Contrary to what we see in the above photo, the shadow area had good visibility. Why is this critical? Because we know the sensor received reflected light (image data) from the shadows. No luminance would have meant no available image data. The camera's standard Gamma profile does not prioritize a natural look. One of AUTO Gradation's benefits is a more natural-looking Gamma profile.

The picture below is an edited version of the above JPEG. The loss of shadow and color information is a general weakness of editing JPEGs. The above image illustrates the importance of knowing your camera and the benefits of the Enhanced Raw Format replicating the camera settings in Workspace. The alternative is an expensive new FF camera and hoping the sensor does everything...

This is an edited Jpeg. I increased the shadow brightness in Photoshop.

The above jpeg illustrates the benefits of the Olympus Creative Color Strategy and the Enhanced Raw Format. Olympus understood the value of experienced M43 photographers, a structured TruePic image creation processor, and replicating these variables in Workspace. Today we learn more about this new strategy from Olympus press releases, Q&A pages, product documentation, and xAI.

Figure 1 illustrates the image signal path from the scene to the SD card. The Enhanced Raw Format is all about the camera's settings and tweaking the results (painting with light) in Workspace. A key part of this process is tonal adjustments or tweaking the final Gamma profile. It would be nice to know if any of the commercial raw converters have the same level of integration with other cameras.

See this article for more on the Creative Color Strategy from Olympus.

An integrated solution lets us replicate the camera's exposure, settings, tonal data, and creative color data in Workspace. For instance, we set the sensor's saturation (SNR) with the shutter, aperture, and ISO mix while tweaking the final exposure in Workspace with the Exposure Compensation slider. Tonal adjustments (Gradation, highlights, mid-tones, shadows, and Tone Curve) let us set the final image look in Workspace. In other words, we can do everything in the camera or use a specific exposure mix and benefit from having "saturated" image data and our camera settings in Workspace.

Workspace exports converted Raw files as JPEG or Tiff files. This protects and preserves the original ORF+ files. Hobby photographers do not forfeit any ORF+ benefits with the 16-bit Tiff option. As many as 95% of my 16-bit Tiff files are slightly re-edited in Workspace and exported as web files. I convert the remaining 5% with workspace and edit the 16-bit Tiff files with Photoshop. 

The following 3 images are the same raw file converted in Photoshop, PhotoLab, and Workspace. They illustrate "recovery" processing priorities when converting poorly exposed images. The post-processing algorithms of raw converters like Lightroom and PhotoLab differ from Workspace because they don't receive the same enhanced raw information from the camera's image processor. That said, these are all good raw and post-processing options that are capable of delivering amazing results.

See this article for more on IQ and Exposure Mix.

The images below were re-edited in 2025 and are illustrations only.

Olympus E-P7 with 12-45mm f4.0 lens. I converted the ORF file in Workspace.

Olympus E-P7 with 12-45mm f4.0 lens. I converted the ORF file in Photoshop CC25.

Olympus E-P7 with 12-45mm f4.0 lens. I converted the ORF file in PhotoLab 7.

What did we learn about the Olympus E-P7 in these examples?

The sensor received 2 luminance intensities from the above scene. The bright areas had more light, and the shadows less. That means the SNR was lower in the shadows and the sensor more saturated in the brighter areas. A lower SNR means more visible noise and less tonal data, which results in fewer shadow editing options. We can improve this situation with a different exposure strategy.

I used Aperture Mode (Auto Mode), which means the camera prevents clipping with a "safe" exposure. The shadow noise is surprisingly low, which means the Pen E-P7 received a more sensitive sensor with a small noise floor. An ETTR of 0.3 to 0.5EV would have improved the sensor's saturation and SNR. This would reduce any visible shadow noise and enhance the general image quality.

An amazing camera and lens combo from Olympus. Each Olympus enthusiast should own at least one of these!

What about the new OM System OM-3?

Having only had the OM-3 for a week, I added some initial thoughts. The OM-System OM-3 with its larger body, redesigned menu layout, and new features does not feel like a traditional Olympus M43 camera. The OM-3 is a lovely camera and I have no doubt that most M43 photographers will take stunning pictures with the OM-3. Considering its size, the lack of a handgrip, and weight, it would be dishonest to say the OM-3 replaced my older Pen F or E-P7. Is the OM-3 an interesting camera? Well, I received my free strap and ordered a new bottom plate with a handgrip.

It took some time to configure my OM-3 like my Pen F and E-P7. The menu is very different from the familiar Olympus menu. For example, the shutter button configuration is in two places. The three pictures below speak for themselves. I used the same OFF+ workflow for my OM-3 in Workspace.

See my Workspace ORF+ conversion/editing settings below these 3 images.

OM System OM-3 with the M.Zuiko 17mm f1.8 lens . This is the camera JPEG (ISO200, f5.0, 1/250).

OM System OM-3 with the M.Zuiko 17mm f1.8 lens. I converted the ORF file in Workspace (ISO200, f5.0, 1/250).

OM System OM-3 with the M.Zuiko 17mm f1.8 lens. I converted the ORF file in Photoshop (ISO200, f5.0, 1/250).

Here are a few general questions and answers about Workspace

Do we need to select our camera settings in Workspace? In the past, I did say it's necessary to "activate" your camera settings in Workspace. This was incorrect because our camera settings are active when we open the ORF+ file in Workspace. You need to reset those settings you don't want. For example, you would reset any Gradation options with the Normal option. 

Are the camera's saturation, sharpness, and contrast data available in Workspace? The Exposure, Creative, and Gamma data are replicated in Workspace. The TruePic Editing settings (Fig. 1) are not copied to Workspace. The reason could be, that "basic" editing settings differ from the full RGB adjustments of the TruePic Exposure, Creative, and Gamma controllers.

I used the OM System OM-3 with the M.Zuiko 12 - 45mm f4.0 Pro Lens. I converted the ORF+ files in Workspace.

Did you test any new OM-3 settings in Workspace? It would be interesting to see if OM System added adjustments for the new ND and GND options. I couldn't find any adjustments. It looks like the OM-3 has the same Workspace functionality as older Olympus cameras like the Pen F or E-P7.

Name 2 unique Workspace features. Workspace has many unique features and options. The first is editing JPEGs in Workspace. For example, many ORF+ files cannot access the Adjust Color function. The solution is to save your ORF+ files as JPEGs and edit them in Workspace. For example, it's possible to simulate layers with multiple JPEG edits in Workspace. The second unique feature is the Workspace batch file processing option (highly recommended). My primary editing application is Workspace. The current version (V4) is quick and a pleasure to use.

OM-3 with M.Zuiko 17mm f1.8 lens. ISO200, f5.0, 1/60. I converted the ORF+ file in Workspace. 

Conclusion

Olympus M43 cameras will continue to be innovative and creative options in 2025. The future success of digital cameras depends on the ability of manufacturers to adapt and focus on advanced image processing rather than bigger and more expensive sensors. The future of photography is a new version of Creative Color, the ORF+ Format, and computational photography. Does OM System understand the significance of the Enhanced Raw concept and what are they planning for the future?

Are Workspace-converted ORF+ files the same as out-of-camera photos?

The pictures below highlight the image quality of the EM1 III with something like the M.Zuiko 17mm f1.2 Pro lens. Each of the 5 cameras in this article has great image quality with clear application strengths and weaknesses. The reason for selecting one of these 5 cameras shouldn't be image quality. Size, comfort, functionality, and application should be high on your list. The Fuji X-T5, X-H2, and X-H2S are excellent examples of selecting the right camera for your personal and application needs. All have similar image sensors with specific attributes and application benefits.

Best

Siegfried

Fuji X-T4 and the 35mm f1.4 lens. ISO3200, f3.6, 1/18, -1EV (Provia film simulation & handheld). I converted the Raw file in PL-6.

A sunset with my Olympus Pen F and the Zuiko 17mm f1.8 lens. ISO200, f5.6, 1/200. I edited the photo in Ol Share (Color Creator). 

Instagram Images

This version of the image was prepared in Photoshop.

Olympus EM1 III with 17mm f1.2 lens. ISO1000, f1.2, 1/30 handheld. The amazing M43 (DOF) benefit.

Olympus EM1 III with 17mm f1.2 lens ISO1250, f1.2, 1/13 handheld. Amazing detail and M43 (DOF) benefit.

Fuji X-T5 with the 23mm f1.4 lens ISO3200, f3.6, 1/7th, -1EV. This is the Camera Jpeg (handheld).

Chatting with AI about image sensors...

Last Update:- 17th March 2025

Should you consult AI for camera advice, or is social media a safe option? AI services like ChatGPT and xAI offer valuable insights, especially when responding to well-defined queries. For instance, AI will recommend the Fuji X-T5 if you mention crop sensor cameras with a resolution of 30MP or higher. It's, also, important to consider the various information layers I discussed in this article.

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. (ISO200, f6,3, 1/20) I converted the Enhanced Raw File in Workspace.

What are the advantages of asking AI? Services like ChatGPT access vast amounts of information and are designed to list quick and relevant answers. I received excellent information when asking ChatGPT or xAI to focus on proven technical data. For instance, AI will access and repeat social media info if you don't indicate a preference for OEM, manufacturer, and technically sound information.

You are welcome to ask xAI the same questions I asked ChatGPT (below)...

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted these Enhanced Raw Files in Workspace.

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted the Enhanced Raw File in Workspace.

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted the Enhanced Raw File in Workspace. I used an ART filter and Live ND.

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted the Enhanced Raw File in Workspace.

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted the Enhanced Raw File in Workspace.

My next reply would have questioned the claim that some cameras capture more light. Yes, the image circle of full-frame sensors is larger than M43 sensors. Does that mean one captures more light? Both sensors have a full "field of view" (FOV) and are designed to saturate when fully exposed (receiving enough light). It's not a case of one capturing more light as suggested by social media advisors.

I stopped the conversation as I had to be somewhere else. I learned a few interesting lessons from this discussion, and have no doubt that both social media advisors and I will receive pleasing replies from xAI or ChatGPT. It's also clear that AI is trained to ask leading questions. It pays to stay focused, treat AI as a valuable source of information, and continue asking specific questions. Regarding quality info, I will ask AI to exclude social media sources promoting the oversimplified "size and capture" or "bigger is better" theory. This includes specific photography websites and forums. 

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. (ISO200, f6,3, 1/80) I converted the Enhanced Raw File in Workspace.

AI discussions, learning, and summarizing conversations are time-consuming. My advice is, to focus on clear questions and specific subjects. For instance, try the guidelines below:

• Prepare a short list of questions or the points you would like to cover,
• Let's assume we like to ask AI for information about dynamic range,
• For example, say you like to discuss cameras and Dynamic Range (DR),
• AI typically replies with a brief definition for DR (if not ask AI),
• Be ready with a few questions like:
• What is the listed dynamic range of 5 or 6 cameras (list the cameras),
• What is the typical DR of a sunny day, a night scene, and cloudy days,
• Ask for cost-effective ways to control the scene and/or camera settings,
• Ask AI when photographers should consider upgrading their cameras,
• It helps to ask for an average percentage improvement you can expect,
• Add more specific DR questions to have all your questions answered.
• You can also save a link to AI conversations to continue the next day...

I trust this example will help you receive valuable AI feedback.

Siegfried

What makes used Olympus cameras so popular?

 Last Updated:- 8th March 2025

Why does the MyOlympusOMD blog continue to grow, and why do I focus on Olympus cameras and the M43 community? Interestingly, for every 100 views my blog receives, 85 come from search engines, 8 are referrals, and only 7 trickle in from forums. Photography forums often censor conversations that push back against the negative mainstream view of Olympus and other M43 cameras. This could explain the hunger for a more open take on used cameras and M43 sensors. The growing conversation around Fuji APS-C cameras, like the X-T5, could also point to a shift toward embracing crop sensor cameras. Let’s explore this fascinating and growing photography dynamic.

I prefer AI (Grok or ChatGPT) info to commercially biased photography forums.

This article explores a growing group of photography enthusiasts rediscovering digital photography. They prioritize familiar camera menus, photography tips, and/or image editing conversations versus the social media version of "better" camera menus, large sensors, and more megapixels. For instance, commercially inspired spaces are less popular among modern photography enthusiasts. Let's consider this shift to traditional photography values versus the constant push for the newest camera models, better menus, extravagant video features, and cropping with more megapixels.

We reviewed the concept of painting with light and the technical and optical characteristics of the sensor versus the mainstream view, in my previous article. This article explores the benefits of having manufacturer information. For example, press releases show us more about older and new camera models. Manufacturer data is proving to be a more reliable source of information than social media. I will also review the general conversation about image quality and how Olympus viewed IQ.

For context, I included some marketing snippets to clarify the benefits of manufacturer information, modern AI services, and the value of personalizing your photography needs. For example, the original OMD E-M1 is a wonderful camera and creative tool for experienced photographers in 2025.

What would your top 5 reasons be for buying the new OM System OM-3?

Forums are ideal marketing platforms where marketers simulate grassroots acceptance of products or counteract targeted products and brands. By monitoring repetitive forum posts, one can identify marketing programs in action. For instance, paid forum promoters suppress discussions about used cameras, push fake defects in targeted brands, and focus on competitive brands. While it's common for photographers to engage in buying and selling cameras, many manufacturers treat the used camera segment as a direct competitor. Consequently, observing forum interactions has become a reliable indicator of active product marketing and counter-marketing programs.

Why would consumers go to social media instead of manufacturer information, and how did external marketers insert a new marketing layer between the consumer and the manufacturer? For instance, it’s common for third-party marketers to manage “sensitive” corporate programs. Some companies spend large sums distancing themselves from oversimplified marketing theories, such as "size and capture." Does this explain the growing trend of consumers rejecting commercial programs that sell false IQ expectations, repetition creating new demand, and programs like astroturfing? 

Olympus E-M1 III Enhanced Raw File converted in WS (Color Adjust, ART filter, and more).

The E-M10 III & IV are good examples of refocusing supplier information via the alternative marketing layer. For example, contrary to the social media version of a perfect E-M10 II, the MKIII & IV have the same TruePic VIII image processor and 5-axis IBIS as the EM-1 II. The 121 AF point sensor and new AF algorithms improved their autofocusing flexibility. The new AP menu is a welcome addition to the latest and enhanced creative and computational feature set. Folks, the E-M10 III & IV are quick and deliver excellent IQ across the tonal range. The new 240-point AF cluster feature is also a welcome upgrade. My wife and I use these two cameras regularly and are 100% satisfied. 

How much do you know about Olympus cameras like the EM-10 III, EM10 IV, and the Zuiko 17mm, 45mm, and 25mm f1.8 lenses?

The Olympus E-M10 II is one of the smallest OMD cameras and a wonderful day-to-day M43 camera. It offers great image quality and matches perfectly with the M.Zuiko f1.8 compacts. The newer Olympus E-M10  III & IV cameras excel in creativity, autofocusing, functionality, and performance.

The Olympus E-M1X and E-M1 III are also good examples. The social media favorite is the E-M1 II while the functional capability of the E-M1 III and IX is comparable to the OM-1. Customer satisfaction has become a more reliable indicator than the social media version of these two cameras.

OM-System OM-3 with M.Zuiko 17mm f1.8 Lens. I converted the Enhanced Raw Files in Workspace (Color Creator / Color Adjust Profile).

My 2025 goal is "going back to basics." This means focusing on more reliable supplier information and ignoring the fake marketing layer. For example, how did Olympus explain the TruePic processor, new firmware, image sensors, Zuiko lenses, and raw converters/editors such as Workspace?

The alternative is a false marketing layer, pushing the idea that paid social media experts are trustworthy advisors. It's remarkable how this happened while they established a flawed theory saying full-frame cameras are inherently better than M43 cameras (Study camera reviews). The social media version of image quality is the sensor is everything, hence the "size and capture" theory.

For example, social media advisors say Olympus reused the same old 12MP, 16MP, and 20MP image sensors (sensor focus) in different cameras. We know this is false because the E-P3, E-P5, and others (up to 40%) had new image sensors. What criteria did Olympus use to improve image quality? 

Olympus E-30 with 14 - 54mm f2.8 - 3.5 Zuiko lens. The Enhanced Raw File was converted in Workspace.

Should the focus be on more pixels? What about Sensor Sensitivity (Optical & Quantum Efficiency)? Is the sensor's readout speed critical? Don’t you think the hype about sensor size, IQ, dynamic range, and noise drives photographers to underestimate the significance of the image processor, lens, and sensor combination? Should we only consider the sensor (IQ) when buying a new camera?

The above E-M1 III and OM-1 examples are almost identical. The differences below ISO12800 are even less. Processed detail improvements are less pronounced with each new camera. In fact, the technical image data captured by these 20MP sensors is very similar, despite the OM-1’s BSI design. Why? Think LiveMOS versus BSI control wiring. The TruePic IX and X processors change the final image look more than these two sensors, accounting for the JPEG ‘film look’ of older models and the distinct image styles between brands. What was the sensor specification Olympus requested for the OM-1 and how would you explain the OM-1's ability to extract more shadow detail than the EM1 III? 

See this short article for more about the role of the Image Processor.

"Painting with light" - I optimized the sensor's saturation with SAT (Auto) and tweaked the tonal curve in the E-M1 III and Workspace.

The Olympus E-3, E-30, and E-5 are interesting examples. The E-3 and the E-5 were professional DSLRs that looked similar but were very different. The E-30 is an enthusiast DSLR with the same 12.3MP Live MOS sensor as the E-5. Yes the E-5 was launched in 2010 and does not have the same sensor as the Pen E-P3 from 2011. The E-30 has a TruePic III+ and the E-5 a TruePic V+ image processor. While both have excellent image quality, the E-5 has the edge with its new and more powerful IQ technologies such as fine detail processing and new optical filters. Study the E5 press releases.

This is an example of how Olympus improved its existing cameras.

The Olympus E-30 and 50mm f2.0 Macro. I used a CPL filter on images 2 and 3 and converted the raw file in Workspace.

Why are CCD sensors known for their film look? The original marketing plan was designed to support the transition from analog to digital? For example, Olympus formed an alliance with Kodak during the transition, and analog features like ISO sensitivity were used in digital cameras. Now we know sensor sensitivity is measured and set at the factory and the ISO function amplifies the sensor's image signal. It would not have worked well selling a modern "digital image look" to analog photographers.

Everything changes as we learn more about digital photography...

I did a quick "image look" comparison to find the differences between my E-500 (CCD) and my newer EM10 IV (Live MOS). I also converted an E-500 raw file in Workspace and compared it to the camera's JPEG. Except for some finer details, the images (results below) are surprisingly similar. This raises the question of whether Workspace has one IQ database for all Olympus cameras, meaning older raw files benefit from current IQ technologies. I wish Olympus had given us more info.

An interesting technical review of the Olympus E-500.

I used the Olympus E500 with the Zuiko 50mm f2.0 Macro. This is a crop of the out-of-camera (OOC) JPEG image.

Olympus did a great job quantifying the role of the image sensor, TruePic processor, and Zuiko lenses. Press releases are also one of the most reliable sources of information when studying older Olympus cameras. Most of the pre-2020 press releases can be downloaded from the Olympus website. These are the old Q&A pages for most Olympus 4/3 and M43 cameras (see the comparison tables).

This article discusses the new BSI sensor and has a copy of the OM-1 press release.

Press releases summarize the IQ technologies Olympus created while technologies like sensor readout speeds, sensitivity, noise floor, Zuiko lenses, IBIS, and autofocusing improved. It's also interesting how they focussed on more computational features and functions over the past 10 to 15 years.

I converted the E-500 Enhanced Raw File to a camera JPEG version in Workspace and prepped the final image in Photoshop.

How does Workspace differ from older to newer Olympus cameras? The available Workspace editing (camera) options are linked to the Enhanced Raw File or Exif data. For example, the E-500 does not have shadow, mid-tone, and highlight adjustments because it's 15 years older than the EM10 IV. Older cameras like the E-500 offered only limited control over the camera's tonal (gamma) curve.

"Difused light" - E-M1 with 17mm f1.8 Zuiko lens. I converted the Enhanced Raw File in Workspace (Color Creator, Tonal Curve, Curves).

How did Olympus plan image quality improvements? Did they focus on the new 20MP sensor of the E-M10 IV, or a combination of the TruePic VIII image processor, image sensor, Zuiko lenses, and newer IQ technologies? For example, Olympus introduced many firmware updates, new TruePic processors, and IQ technologies from the older E-500 to the EM10 IV. See the various press releases.

I used a Gray card for the next 3 images and did the WB "corrections" in Workspace.

"Controlled light" - Olympus E-500 and 50mm f2 Zuiko lens. ISO100, f6.3, 1.3 Sec. I converted the Enhanced Raw File in Workspace.

The Olympus E-M10 IV and 12-50mm M.Zuiko lens. ISO200, f6,3 1/5. I converted the Enhanced Raw File in Workspace.

I used 2 LED lamps and a tripod to control the final look of the test scene. More recently, I have been focusing on angles, contours, and lighting which enabled me to adjust the scene and the final image look. We can also compare Workspace to the TruePic processor. This makes it possible to finalize the image look (presentation) with the external LEDs and the camera's settings in Workspace.

Why is the E-M10 IV a more capable camera than the E-500? The TruePic VIII Image Processor offers higher processing speeds, more control, creative options, and computational features. Modern image sensors are more efficient (data collection), with higher SNRs (smaller noise floor), and design aspects like sensor read-out speeds (stacked sensors) and more dynamic range (sensor design). 

See this example of what's possible when "painting with light" (external & editing variables).

"Color Profile" - Olympus E-500 Tiff version. I applied the Pen F (Kodak 160 VC) profile to the gray card Tiff version in Workspace.

Olympus' press releases and the information they share with customers are significant. For example, the original E-M5 and the E-M10 have the same sensor (E-M10 press release). The E-M5 has the older TruePic VI, and the E-M10 has a newer TruePic VII. The E-M5 has 35 AF points on the sensor and the E-M10 has 81 AF points. Does this mean the EM-10 has an upgraded version of the E-M5 sensor? Did the E-M10, therefore, receive a new sensor with 81 AF points? The E-PL7, E-M5 II, E-M10 II, and E-PL8 probably used the same high-speed 81 AF point sensor. A combination of the TruePic image processor and the upgraded sensor could explain the image quality improvements of the E-M10.

I had an interesting conversation with ChatGPT on whether the E-M10 has a new sensor. The AI reply raised a few questions which we reviewed with data from Olympus press releases and an OMD catalog. At one point I asked for a list of information references. Interestingly ChatGPT sourced its information from the alternative marketing layer. I used different questions to get ChatGPT to do a more in-depth search. Knowledge is critical today as the obvious is not always correct.

I paid for my OM System OM-3. This blog is ad-free and I am NOT sponsored by any company. 

Update: The xAI service Grok received the highest info quality rating for going deeper than only the alternative marketing layer. I asked Grok if the E-M10 has 81 physical or software AF points? The reply was both physical and software AF points are possible with modern mirrorless cameras. 

See this conversation I had with ChatGPT - link.

Olympus E-500 with 50mm f2.0 Macro. ISO100, f6.3, 1/1250. I converted the Enhanced Raw File in Workspace.

Another interesting example is the Olympus Pen E-P3. The external marketing layer promotes the idea that all 12.3MP Olympus cameras have the same old sensor. Did you know these sensors and TruePic image processors were tuned to deliver the well-known Olympus color or film look? Olympus upgraded the Pen E-P3 with a high-speed (120fps) Live MOS sensor and the TruePic VI processor. Older 12.3MP cameras (M43 & DSLRs) used older image processors. See the E-P3 press release for more.

The Olympus E-30 is almost the same size and weight as the Panasonic G9.

The Olympus E-M1 II was a milestone targeting pro photographers. The E-30, E-P3, and Pen F were unique designs for enthusiasts and creative photographers. For example, the E-P3 Live Guide was the first iteration of in-camera Tonal Control and the Color Creator. Features like these were neglected by social media advisors. See the Pen E-P3 press release for more info plus the 2X digital converter designed for "standard resolution" photos with the M.Zuiko 40 - 150mm f4 - 5.6 kit lens.

This is the first article in a 6-Part series about creative color photography.

How would you define the Olympus analog or film look? Why the question? The same social media advisors who rave about Fuji's Classic Chrome film simulation question Olympus' color accuracy. What is more popular today, "correct" colors or something like Canon, Olympus, or Fuji colors?

Imagine having an Olympus E-5 III (plus handgrip) and the older E-450 in your camera bag...

What are the main benefits of owning an Olympus camera? The main advantage of photographing with Olympus cameras is an opportunity to discover more about digital photography than sensor size, dynamic range, and image noise. Used Olympus cameras offer a mix of basic to advanced exposure techniques, creative color technologies, and computational features at a competitive price.

Color and monochrome profiles are unique creative tools. Photographers have more options while creating and sharing color/monochrome profiles with their cameras or Workspace, and the simplicity of sharing profiles with Workspace has become a huge benefit. My next article will briefly overview the Pen F and E-P7's creative options such as the color creator and color/monochrome profiles.

A modern image look of the Olympus Pen E-P3 and Zuiko 12mm f2.0 lens. ISO200, f8.0, 1/650. I converted the Enhanced Raw File in WS.

Take a moment to carefully study the press release (below) with the 5MP and 8MP CCD sensors of the Olympus E1, E-300, and E-500. Imagine the surprise when the Olympus Engineering Team learned the alternative marketing layer promotes the idea that sensor size is critical for image quality and more pixels would not negatively impact Sensor Sensitivity, Dynamic Range, or the sensor's noise floor. What role did the alternative marketing layer and nodding consumers play in motivating the Olympus board of directors to walk away from 100 years of innovation and a visionary Imaging Business? 

The next Press Release announced the first Live MOS sensor replacing older CCD Kodak sensors. I only included information relevant to this article. Study the Olympus E-330 press release for more. Folks, I spent hours studying and building a summary of the new IQ technologies, image sensors, image processors, software plus firmware updates, and the lenses Olympus developed for its cameras. It's a rewarding and positive experience learning about the visionary solutions Olympus pioneered, their planning and decision-making, plus segmentation and new product positioning.

See this article about the hyped Olympus financial scandal?

What about image quality? This is a complex subject because we don't have a definitive standard for image quality. I always smile when forum advisors say, "Everyone knows FF cameras are better." One advisor claimed full-frame cameras have 20 to 30 times "more" image quality. Others spend hours pixel-peeping while the rest make prints and enjoy them with good wine and friends.

The E-M5 and 14-150mm lens. The raw file was converted/edited in WS (ART filter).

How many image quality (IQ) tests have I done? See this article reviewing the DxOMark IQ database. I tested 15 cameras with a 20-year to 20-times pixel area difference. I also tested thirteen Olympus M43 cameras further down. From these and other examples, IQ arguments should not be at the top of your features list when buying a new camera. The application (ie landscape, BIF), type of camera, auto-focussing, computational features, and the final IMAGE LOOK are way more interesting.

Olympus E-M1 III Enhanced Raw File converted in Workspace. (Color Creator)

For example, the design criteria of the older (2015) Olympus EM5 II were flexibility, great video, IQ improvements, improved 5-axis VCM stabilization, and 40MP high-resolution images from the older E-M10 sensor. This is the same high-performance 16MP Live MOS sensor with 81 AF sensor points. It's fascinating to study the E-M5, EM5 II, E-M1, and E-M10 press releases and brochures while reviewing the improvements and computational features Olympus created with these cameras.

Olympus E-500 with Zuiko 50mm f2.0 macro lens. ISO100, f2.0, 1/3200.

In conclusion, why are Olympus cameras so popular? The Olympus Imaging Business earned a great reputation for its visionary solutions and technologies, the functional design of Olympus cameras (look and feel), the digital M43 sensor format, creative plus computational features, Olympus color, and unique image quality (film look). It's also an opportunity to experience the evolution of high-quality mirrorless cameras over the past 15 years. The classical look and feel of Olympus compact, DSLR, and M43 cameras played a large part in the increasing popularity of used Olympus cameras.

The Fuji X-T5 Press Release. How does this info compare to the mainstream view?

Would you question this ISO1600 (same camera settings) test if someone published it on social media?

ISO1600, f7.1, 1/50th. The DOF advantage allows for more detailed shadow info.

The smaller DOF of FF cameras and equivalence are not for everyone.

The Fuji X-T5 is a great alternative to M43 cameras.

Digital cameras had excellent image quality over the past 15 years, which allows us to convert older RAW files professionally in 2025. The various Olympus camera models differ in weather sealing, the focus on application, computational features, and processing speeds. For example, how much effort does it take to repeatedly take great images in different situations? Those photographers who have older cameras and do photography as a hobby appreciate using cameras like the E-30, E-620, and E-520 with Zuiko lenses for their film-like image quality and competitive pricing.

The Olympus Watercolor ART Filter. See the Pen E-PL5 press release for more about this interesting ART Filter.

Nothing we experience today is new. This is more apparent as we study cameras like the OM System OM-3. Future corporate marketers (AI) will likely "create" new camera options and features from a central camera database and match them to "new" photography segments and applications.

Olympus E-450 with Zuiko 14-42mm lens. ISO100, f9.1, 1/500. Something special about the film look of Olympus DSLRs.

I would much rather enjoy an annual Photoshop and Kelby One subscription or plan new photography excursions than "invest" thousands of dollars on a "better IQ" (hmmm) full-frame camera.

Imagine buying a complete camera kit, with film-look images, for less than $1000:

• Olympus E-30 or E620 DSLRs with Live View ($180)
• I recently paid $60 for my E-450 with 2 kit lenses
• Olympus Zuiko 12 - 60mm f2.8 - 4.0 lens ($210)
• Olympus Zuiko 50 - 200mm f2.8 - 3.5 lens ($120)
• Many other great Zuiko lenses to choose from.
• A used camera bag, carbon tripod, and flash.
• When last did you print DSLR images?
• This and more for less than $1000...

The OM System OM-3's width, height, and weight will be more than the Fuji X-T5 with an RSS bottom plate and handgrip.

Olympus DSLRs have a remarkable film-like image quality. I also view the world differently today. For example, it's a joy to edit my older photos. I also love the image look of older Olympus CCD and Live MOS sensors. I believe both these sensor types benefited from the transition to digital.

Olympus E-30 and 14-54mm f2.8-3.5 Zuiko lens. ISO100, f7.1, 1/100. I converted the Enhanced Raw File in Workspace.

A key aspect of older digital cameras is supplier info. For example, Olympus never tweaked the IQ of its entry-level, enthusiast, and professional cameras. Olympus segmented its cameras with features, weather sealing, and functionality. See the E-500, E-520, E-3/5/30, and E-620 press releases.

How will OM System improve and differentiate its future cameras?

Olympus E-510 with 14 - 42mm kit lens. The jpeg was edited in Workspace (Color Profile, Soft focus ART filter, Gamma, and Curves).

Should we upgrade to the OM-3 version of Workspace? I recommend waiting for older Intel Macs. The current (V2.3.2) Mac version is stable and works well with my Olympus cameras. I upgraded to V2.4 on my older Macbook Pro (M1) and experienced no issues. It's quick and responsive.

Photography is fun.

Siegfried

PS. I used the same studio, M.Zuiko 60mm f2.8 macro lens, and camera settings for the images below. Spot the differences...