Olympus Pen-F Color and Monochrome Profiles

Last Update: 30th March 2025

The Pen F was the first M43 camera with the Olympus Creative Color, Computational, and Enhanced Raw format (ORF+) package. The Enhanced Raw Format is unique as it lets us review and edit our camera settings in Workspace. The Pen F, E-P7, and OM System OM-3 are the only cameras with advanced Monochrome and Color profile functions targeting specific colors. These cameras can edit or create global color effects, or target specific colors. Let's explore the Pen-F and the Creative Dial and why this is an interesting solution for artists and creative photographers.

Olympus differentiated itself with solutions like IBIS and the digital M43 sensor format. The Creative Dial and full Creative Color package are unique Pen F differentiators. When Olympus introduced the Pen F and the Creative Dial, most M43 photographers thought it was another Color Profile (LUT) option. Although not entirely wrong, the user manuals revealed more. The Creative Dial accesses different Creative Color features like the Color Creator, Color/Monochrome Profiles, and ART Filters.

Also, see Part 6 of my series on Creative Color photography.

These images were part of the ad campaign introducing the Pen F as a definition of style and substance in 2016

Each photography style like landscape, wildlife, or sport is unique, Creative photographers and artists use familiar objects, natural light, and contrasts to create day-to-day life and street art. The Pen-F is a flexible street and rangefinder-style camera that became popular after a slow start in 2016. The demand for used Pen F and E-P7 cameras didn't change much in 2025 as collectors and artists value their Creative Color features. Pen F owners also prefer high-quality cameras, controls on the right, and the optional handgrip. It would be interesting to follow the new OM-3 in this space.

The Enhanced Raw Format is perfect for the Pen F as it replicates the camera settings in Workspace. We can now edit our camera settings and monitor the changes because the camera's final Live View display is available on our Workspace PCs. For instance, I improved my Color Creator, Adjust Color, and Monochrome skills with Workspace. This unique integration became a game changer.

Study this article for more about Workspace and the Enhanced Raw Format.

What is different between Adjust Color and Color Profiles? The Adjust Color function of Workspace is called Color Profiles in the Pen-F. The Adjust Color (Color Profile) function targets one of 12 colors and adjusts its saturation for the Pen-F versus saturation, luminance, and hue for Workspace. We can also select all 12 colors and increase/decrease the saturation, luminance, and hue.

Here is a short summary from ChatGPT. "The Olympus systems—including the Pen F, E-P7, and the OM-3 are indeed unique with a dual-tiered approach. They separate global color adjustments from targeted color controls, enabling precise manipulation of specific color ranges while also applying broader image-wide settings. This design is a distinct departure from most other camera systems, which typically offer only global adjustments via LUTs or film simulations. It’s a feature that really sets Olympus (now OM System) apart in its workflow and creative flexibility."

What is a Color Profile (Custom Preset) in the Olympus world? With their ability to target specific and global colors, Olympus cameras have the most advanced color control compared to other brands. Another advanced aspect of Olympus Color Profiles is saving the complete camera configuration. That means 3 SCP Color or Monochrome Profiles (separate profiles) are saved to a Custom Preset C1, 2, 3, or 4 at a time. The Creative Dial has to be in Color or Mono mode when saving to, or selecting any of the C1 to 4 presets. For example, one could have the "same" Color Profile saved in C1 and C2, with C1 configured for SAF (Single AF) and C2 for CAF applications.

This was the launch video of the Pen-F (Interesting - less than 5 minutes)

How do I use Custom Presets after 8 years with the Pen F? I never used C1 and C2 and configured C3/4 for Photo Story and SCN modes. I use the 3 SCP profiles as needed. For example, Profile 1 is my clipboard, and Profile 2 and 3 might be my 1020 and Kodak 64 Profiles on any specific day.

The Pen F had five firmware updates: details below:-

• Olympus added a "Bleach Bypass " ART filter to the Pen F
• Custom settings C1 to 4 are saved with the camera configuration
• This makes it possible to share Pen F configurations with friends
• The ability to extract color and monochrome profiles from JPEG images
• You can now share color or monochrome profiles by sharing a JPEG file
• Shading effects have been added to the Adjust Color and the Color Creator
• The ISO auto settings have been expanded and are the same as the EM1 II
• They improved the operability of the AF Targeting Pad (camera display)
• ART filter selection and the touch function operation have been improved
• The current firmware version of the Pen F is V3.1

Creative Color summary. Pen F User Manual (V3.1) and page #:-

• Page 38 - Basics about the Creative Dial operation
• Page 39 - The Adjust Color function and SCP Profiles 1 - 3
• Page 40 - The Monochrome Profile function and SCP Profiles 1 - 3
• Page 66 - SCP Monochrome Profiles Grain filter
• Page 41 - The Color Creator function
• Page 42 - Art Filters
• Page 67 - Tonal Adjustments (Shadows, Mid Tones, Highlights)
• Page 67 - Monochrome Picture Mode - Color filter selection
• Page 64, 65 - Sharpness, Contrast, and Saturation adjustments
• Page 116 - Assigning Photo Story to C3 and SCN Modes to C4
• Page 116, 117 - How to use Photo Story (Newer cameras do not have this function)
• Page 118 - More about SCN Modes - Handheld Starlight, e-Portrait, and other
• Page 33 - 44, 88 - How to use Creative Color functions. How to set Custom Modes
• Page 179 - 182 - A summary plus how to use the V2 & V3 Firmware updates

Olympus E-P5 with the Lumix 20mm f1.7 lens. ISO200, f5.0, 1/1250. I converted the Enhanced Raw File and re-edited the jpeg in Workspace.

Configuring your Olympus Pen F

My focus was Color Profiles when I wrote the original article in 2020. Over the past 5 years, my focus changed from Color Profiles to making Creative Color adjustments while photographing. Everyone's personal preference or photography style determines their focus or photography style. Some like the look of traditional film roles (Color Profiles) and others create beautiful photos in Photoshop. One is universal profiles like LUTs and the other is tailored adjustments for specific scenes.

The Pen F is always ready for that next inspirational or creative moment. It might be a sunset, a city scene, a family event, or walking your dog. What is the first thing you do when spotting a photo? Do you consider framing options, foreground objects, and leading lines, or do you study the light (paint with light), colors, color harmonies, targeted/global colors, and post-processing options?

A = Creative Dial / B = Mode Dial (Custom Modes) / C = Lever

The Pen-F Mode Dial differs from the EM5 II, the EPL9, or the EM1 II. For example, the Pen-F has no Photo Story or SCN Modes on the Mode Dial. You must reconfigure Custom Presets C3 and C4 to Photo Story and SCN Modes. See the above user manual info and summary. That leaves C1 and C2 for camera configurations or unique color and monochrome profiles. That means you can have 9 color and 6 monochrome profiles as Custom Presets (C1 and C2 plus the 3 Profiles in the SCP).

Tip:- Custom Presets (Color Profiles) are more than Adjust Color or other Creative Color options. The complete camera or Workspace configuration is saved as a Custom Preset or Batch-Processing file. This means specific Adjust Color settings, tonal adjustments, and other camera settings. For example, I use C1 for 3 color profiles and C2 as a backup for my normal camera configuration.

Olympus Pen F with the G Vario 12 - 60mm f3.5 - 5.6 lens with ND filter (right). I converted the Enhanced Raw Files in Workspace.

The Pen F and E-P7 are very different cameras. Except for some performance differences, the Pen F and EM1 II have more in common. The Pen E-P7 is a minimalistic camera for excellent Creative Color control while photographing. Considering these three cameras, one can summarize Olympus' Creative Color and Computational features as follows:-

1. Global and targeted colors (Color Creator, Color and Monochrome profiles, WB)
2. Tonal (Gamma) profile (Gradation, highlights, mid-tones, shadows, Tone Curve)
3. Unique photo filters and adjustable effects with Olympus' ART filters and Photoshop
4. Old school Picture modes like Natural, Vivid, Monotone, Color Filters, and Grain
5. Traditional image adjustments like contrast, saturation, sharpening, clarity, and dehaze
6. Unique creative features like Photo Story, SCN modes, HDR, Multiple Exposures
7. Computational (Live Composite, Live Time, High Ress, Focus Stacking,  Live ND)
8. The TruePic Image Processor, Enhanced Raw Format, and Workspace integration

Most functions listed in points 1, 3, and 6 have more options such as tonal adjustments, grain options, color filters, framing, and shading options.

The Color Profile (Adjust Color) Tool

A = You can select 1 of 3 factory set Profiles (Profile 1 is neutral)

Olympus describes the above SCP Color Profiles as:

"Of the three presets, Profile 2: Chrome Film Rich Color has rich, deep tones, and Profile 3: Chrome Film VS gives rich film colors with more saturation. You can adjust these two presets, or create your own profiles from scratch using the Color Profile 1 preset."

The Super Control Panel (SCP) Profile 1 option is an interesting "clipboard" while photographing. SCP Profiles 2 and 3 are factory presets. I often use the 3 SCP profiles as placeholders while photographing nature, city scenes, or family events. For example, I will have 2 or 3 unique monochrome or color profiles while photographing. The 3 SCP profiles help me to quickly change profiles.

The following camera variables are included in Color Profiles:

• All the camera settings like Picture mode, SAF or CAF, IBIS, and more
• The Color Profile tool with 12 different color and saturation selections
• Tonal Adjustments like Highlight/Shadow & Midtone and Gradation
• SCP settings like sharpness, contrast, and saturation adjustments
• Exposure Mode, Exposure compensation (Pen F Exposure Comp dial)
• Experiment by saving different camera configurations in C1 and C2

Olympus Pen E-P7 with the M.Zuiko 17mm f2.8 lens. I converted/edited the Enhanced Raw File in Workspace.

For example, practice your color awareness with the following:-

• Practice scanning your surroundings, identifying colors, and color harmonies
• When paging through a magazine identify the main colors and the color harmonies
• Be aware of the people's clothes (colors) by checking color selection and harmonies
• Practice using different color harmonies (Complementary, Analogous, and Opposite)
• In time you will find your color awareness and harmony considerations will improve

Advanced Monochrome Profiles

A = Monochrome Profiles / B = Grain filter setting or selection

Olympus describes the above monochrome profile presets as:

"Of the three monochrome profile presets, Monochrome Profile 2: Classic Film B&W provides a grainy monochrome look, and Monochrome Profile 3: Classic Film IR emphasizes red color filter effects for the look of infrared film. You can adjust these two presets, or create your own monochrome profile from scratch using the Monochrome Profile 1 preset."

Pen F with M.Zuiko 12mm f2.0 lens. I converted/edited the ORF+ file in Workspace.

The Pen F and E-P7 have two monochrome options. One is the advanced monochrome profile option and the other is Monotone Picture Mode. Both are great B&W or monochrome options. Traditional film photographers had color filters on the front of the lens. The Monochrome Profile option has 27 old-school color filters. In my experience, it's good to start with opposite colors, unique lighting conditions, and contrasts. Practice is critical because each monochrome photo is unique.

Original image on the left and the Monochrome profile using a yellow base color on the right

Again the original image was done with a color profile, then a monochrome profile, and monochrome with a base color.

Pen E-P7 with 12mm f2.0 - ISO100, f5.6, 1/250. (MonoChrome Profile plus a little Photoshop)

How does one create/manage and share color or monochrome profiles?

See my how-to page here and technique #8 for a description of how to manage profiles. Olympus added a new gallery with color and monochrome images by Olympus visionaries. Each image can be downloaded to study the Exif data in Workspace. Each image also has additional information about the profile. This is a great source for Pen F photographers looking for ideas and inspiration. You can now lift any color or monochrome profiles with WorkSpace and transfer them to your Pen-F. You can also open the image and Exif data in WorkSpace, and manually transfer the settings to your Pen F.

Folks, I never copied a profile from an image, saved my camera settings in Workspace, or shared custom settings (profiles) with someone, in the 8 years I have owned my Pen F. I did learn how to work with color and how to apply that knowledge with my Pen F, E-P7, and Workspace.

I don't know if any of them are visionaries for OM-System (March 25 edited)

Part of Olympus' previous Pen F color and monochrome profile image collection.

An example of the available information for each image in the gallery

A more advanced technique for developing profiles is described in this article.

For example, use color cards to copy or create personalized profiles. I made a series of color cards with DXO film profiles. Each image represents another DXO film profile. This is a more advanced option and requires lots of patience and practice. These color cards also help photographers develop a good feel for color and learn how others create profiles.

Visit my Pen F Profile page.

Olympus Pen E-P7 with the M.Zuiko 17mm f1.8 lens. The key to Monochrome Profiles is light (painting with light) and color.

Live Composite

See this link for 7 interesting TIPS on how to use the Live Composite function.

Photo Story

Photowalk and Advanced Exposure Techniques

Last Update:- 27th May 2024

My wife and I were driving past the old town of Rapperswil at the far end of Lake Zürich. Returning from our appointment, we decided to stop at Rapperswil and spend an hour or two in this lovely old town. My wife with her EM10 III and myself with my Pen F and 12-50mm f3.5-6.3 EZ lens.

I also wanted to try my Gossen light meter. The idea was to try the Gossen with more demanding exposure techniques like ETTR for street/city photography. (Walimex is a Gossen)

Olympus EM1 II w 30mm Macro, 2x FL600, mini studio, RC Mode.

Regular visitors to my blog know I've been on a journey studying the camera's image sensor, types of image sensors, the size and capture theory, and different exposure and focusing techniques.

While searching for information for my new Gossen, one thing led to another, and I came across the Sekonic YouTube presenter, Joe Brady. In his videos, Joe demonstrated the benefits of using external light meters with modern cameras. Joe convinced me to add the Gossen to my exposure toolbox. The Gossen was tucked away in my photography "to-do" list until I saw Joe's videos.

It's now 3 years since I started studying image sensors. In that time, I read different articles on DPReview and participated in heated forum discussions. I always compared the information I received to theoretical and technical articles published by engineering schools, image sensor manufacturers, the European Machine and Vision Association, and other enthusiast websites. 

As in most situations, finding that one thing that matters needs unpacking much fluff and talking. Without getting too much into the sensor size debate, those who did change from one format to another know it's way more than the size of the sensor or pixel area. The 3 factors we should consider are buying/selling costs, the size and weight of camera equipment, and the available lens offer.

Focussing on one thing, I discovered the key to optimum image quality is having the image sensor at its optimum SNR and saturation level. (Figure 1) It became clear that the digital camera is not a digital paintbrush. The ideal SNR is specific and available in a small operating window. This motivated me to shift the creative part of my digital photography to the post-processing phase.

The image recording phase is simply a data-collecting phase and nothing more. The goal is to select the "best" exposure mix to push the sensor to its ideal performance window. This "ideal" performance window happens when the sensor reaches optimum SNR or Saturation levels. (See Figure 1) The sensor records more tonal data with the lowest visible noise at full saturation.

Figure 1.

It took my wife and me 2 hours to complete our photo walk in Rapperswil. I selected an ISO of 200. The cloudy conditions would benefit from the higher DR at ISO200. I started with an aperture of f5.6 and aperture mode. That meant I had to carefully select my focus point and monitor the histogram when using ETTR or upping the exposure. This process of monitoring and adjusting the exposure is quick and takes seconds. The photographer's experience in advanced exposure technique guides the decision to use an ND or Polarizer filter, stacking or bracketing, or the camera's HDR function.

Olympus Pen F with 12-50mm ISO200, f5, 1/500 - Raw file converted in Photoshop (only basic settings).

I adjusted the exposure of the above scene with the Gossen. Study the histogram. The Gossen's exposure reading was the equivalent of the camera exposure at +0,3EV. The dynamic range of the scene was influenced by the clouds. For example, one has more or less clouds in the exposure frame when pointing the camera up or down. With the camera's exposure reading pointed toward the clouds, the street-level exposure and SNR decrease, and the visible shadow noise increases. 

Not that shadows generate image noise. Less reflected light on the sensor means a smaller SNR, less tonal data, and more visible noise. Interestingly, the Gossen exposure meter is less affected by clouds because its FOV is 180 degrees. The camera's FOV is linked to the focal length of the lens...

This is the same image edited in Luminar 4 - One can see how the camera handled the DR well.

The above image is an edited version of the RAW file. While editing the RAW file in Photoshop, I knew the RAW file had enough tonal data, which enabled me to push the RAW file a little more. 

I upped the camera's exposure with the aperture "gain" option (image below). The histogram shifted to the right, and the street-level image brightness improved with the higher exposure level. My final exposure benefitted from an ETTR gain of +1EV. Moving the histogram to the right means the darker street level benefits from more tonal data and less noise. An increase in tonal data benefits the complete tonal range. Exposure techniques like HDR increase the tonal data even more. I also used the camera's over and underexpose indicators to monitor highlight and shadow clipping. The Olympus histogram is flexible enough to help us find the best possible exposure mix with ETTR. 

I rarely go for clipping-free exposures. The brighter clouds did clip a little in the above example. I was OK with that because most people wouldn't recognize any clipping. I apply the same rule for darker shadow areas. I learned it's better to clip (turn black) some darker areas and prevent non-critical areas from showing noise. This is similar to what Panasonic does for filming. For example, Panasonic allows us to work with a smaller tonal range of 15 to 256. Study the OOC jpeg below. 

This is what the camera's jpeg looks like when one applies an ETTR of +1EV.

The image below is the edited Raw conversion of the above jpeg. I pushed the sensor to its optimum saturation and SNR with my exposure mix. This allowed me to "push" the conversion of my raw file a little more. Study my articles about Workspace and the Enhanced Raw Format for more.

Those preferring out-of-camera "ready" JPEGS should read the following. The secret is to treat your Raw and JPEG files differently. The RAW file can be pushed to have more tonal data with less visible noise and can be re-adjusted to mimic the scene in post-editing. Jpegs are different and benefit from more accurate exposures. For example, we can tweak the gamma curve of Olympus cameras. This is done with exposure compensation and the Gradation and highlights/shadows functions.

The following settings allow us to create JPEG profiles in the cameras. For example, use the mid-tone slider to correct ETTR adjustments and the i-Enhance Picture Mode to activate the Olympus image quality features. The gradation function improves shadow details and limits clipping, and the highlight and shadow sliders are used to add contrast or manage the shadows and highlights.

Olympus Pen F with 12-50mm lens - ISO200, f5.7, 1/250 (+1EV ETTR) - Raw file converted and edited in PS and Luminar 4.

Final thoughts on saturating the image sensor and ETTR

Study this article to learn more about ETTR or what it means to "flood" the sensor. Study this article for more on how to read the DxOMark image quality database, and read this article discussing the 4 things that will improve your image quality. The image creation process for the above image starts by reviewing any depth-of-field (DOF) or movement requirements linked to the aperture and shutter mix. The next step is to optimize the sensor. I used the following camera setting for the above image:

• ISO200 (Manual setting - see intro text))
• Shutter speed of 1/400 (Aperture-Mode - shutter speed was selected by the camera)
• An aperture of f5,6 (The photographer's choice in Aperture Mode - f5,6 creates a large DOF)
• I used my Gossen exposure meter reading with an ETTR of +0,5EV to up the SNR.
• The histogram confirmed that I could shift the histogram to the right with +0,5EV.
• I used the histogram's under/overexposure warnings to find the final exposure mix.

The final step focuses on the reflected light reaching the image sensor. The aim is to expose the sensor optimally with techniques like ETTR or stacking. Which of the above exposure settings would you change if you had to increase the shutter speed? I manually selected ISO200. We also know that the ISO does not control the reflected light to the sensor like the aperture/shutter mix. 

Something we haven't discussed much is to 

think of the aperture as gain.

The target is exposure and not DOF when using the aperture gain effect. That means doubling the reflected light to the sensor for every 1EV aperture increase. This exposes (floods) the sensor with information. The question is, how does this affect the DOF? Something that should be talked about more is the 2-stop DOF (Depth-of-field) advantage of M43 cameras.

The "starting" depth of field was set for the city scene. It's, therefore, safe 

to slightly increase the aperture (gain) to control the image sensor. 

This M43 (DOF) advantage varies from application to application, like macro, landscapes, or city scenes. Always experiment and use your photography experience to select the best exposure mix. Photographers migrating to M43 cameras tend to prefer higher apertures. For example, they will use f8 to f11 for landscapes, whereas f5.6 to f7.1 is enough for landscapes on M43 cameras.

Pen F with 12-50mm, ISO200, f5.1, 1/200 and +0.3EV (ETTR)

Full-frame cameras have more background blur but a smaller DOF. Full-frame photographers disagree on forums, while it's nothing new to find serious full-frame photographers using techniques like focus stacking in more critical DOF applications like cityscapes or landscape photography.

One needs to break free from the commercial "background blur" hype to learn why the M43 aperture is one of the M43 segment's most exciting features. The key to unlocking this strength is re-thinking how we apply the aperture with crop sensor cameras. A depth of field aperture of f5,6 is good for city and landscape photography. The key is having the correct focus point. See this article.

It was safe to add +0.5EV reflected light to the sensor for the first image of Rapperswil. The brighter street level and 50% more reflected light onto the sensor didn't affect the original DOF much.

Consider how marketers distract M43 photographers by shifting the focus to equivalence and background blur. They effectively confuse and prevent crop-sensor Photographers from benefiting from the DOF or the unique sensor saturation or "gain" advantage of M43 cameras. Instead, M43 photographers focused on diffraction, noise, and keeping the ISO below 500.

If you want to experience the full benefit of aperture gain and how it impacts sensor performance, apply this technique to older M43 or smaller sensor cameras like the Olympus X-Z2.

The takeaway is the aperture changes the reflected light (gain) or DOF. Exposing to the right (ETTR) means more aperture gain, especially in poor light conditions with slower shutter speeds and higher ISOs. One needs as little as +0.5EV to improve the sensor's saturation. A full stop will seriously flood the sensor. More reflected light means a better SNR, more tonal data, and less Visible Noise.

It helps to practice with older 12 and 16MP mirrorless or compact cameras. The benefits are more visible with older image sensors, and it also helps to master the DOF versus gain principle. 

Does later 16MP and 20MP sensors also benefit from this technique? Absolutely, but the differences are less visible for newer versus older sensors. The camera's auto-exposure algorithm saturates the sensor more with newer Olympus cameras. See this article about Olympus' safety headroom.

Olympus Pen F with 12-50mm f3.5-6.3 EZ lens, ISO200, f5.0, 1/350, +0.3EV (ETTR) - Raw file converted in Photoshop.