VideoPic Blog: March 2025

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