Last update:- 18th May 2026
The OM System OM-5 was the final M43 camera in the E-M5 series, which kicked off in 2012 with the E-M5 MKI. The E-M5 series, with fully functional options such as the HLD-6 handgrip and power battery holder, became a digital version of the Olympus OM film SLR series. The E-M5 MKI & II established the Olympus Imaging business as a mirrorless visionary while large camera manufacturers invested in a future with full-frame DSLRs. The Olympus E-M1 MKI and II were even more impressive technological achievements, which resulted in the E-M5 III being a repackaged version of the E-M1 II, the OM-5 a repackaged version of the E-M1 III, and the OM-3 a re-engineered version of the OM-1 II. The creative dial, first introduced with the Pen F, was a welcome addition to the new OM System OM-3.
When Olympus introduced the creative dial with the Pen F, social media and forum experts invested much time criticizing its physical placement on the camera. Instead of exploring the functionality and benefits of controlling the camera's color output at a RAW processing level, photographers were led to believe the creative dial was nothing more than a gimmick. The same thing is happening to the OM-3, judging by the feedback I received from xAI and ChatGPT. For example, the only variances I found between the EP-7, Pen F, and OM-3 color and monochrome profiles are the user interface, the number of presets, and some functional differences between the custom preset options.
Q: How does Workspace create an advantage for those using an OM-3, Pen F, or EP-7 in photo competitions?
The OM System OM-5 with the 7-14mm f/2.8 Pro lens, and the Olympus E-M5 II with the 12-40mm f/2.8 Pro lens.
While the excitement of owning an E-P7, the Pen F, or an OM-3 is encouraging, one would like to see photographers getting a fair chance to learn and better their color skills. My thoughts drifted to film photography as my wife and I were enjoying older cars at a local motorcar racing event. I had my OM System OM-5, the M.Zuiko 12-200 mm f/3.5-6.3, and my M.Zuiko 12 mm f/2.0 lens with me.
It's good to know Olympus never used image quality to differentiate between cameras and lenses. The original Olympus E-M1 and the OM-1 II are great examples. The OM-1 has the latest TruePic X image processor and sensor, which basically means better functional and image quality capabilities, while experienced photographers are enjoying excellent results with the older E-M1. The M.Zuiko 12-200 lens is similar to the E-M1, as it offers excellent image quality to experienced photographers.
PS. Experienced photographers don't complain about megapixels or EVF pixels when discussing photography...
Olympus E-M-5 III with the 18 mm f/1,8 lens. I used Workspace to apply the ChatGPT Ektachrome E100 color profile to the RAW file.
The M.Zuiko 12-200 mm is not as flexible as its pro alternatives in low light or at lower apertures. For example, I learned how to apply the 2-stop M43 DOF advantage, good daylight, and a fixed f/6.3 or f/7.1 aperture. The smaller size and weight of this lens is perfect for daytime adventures and ISO 200 to 1600. This simply means the M.Zuiko 12-200 mm is an excellent multipurpose lens.
I like to keep my camera/lens combinations small. I also like to keep it simple. That's why it's good to acquire knowledge and a good understanding of digital photography. For example, I use cluster plus continuous autofocusing (CAF) for moving targets and SAF for static scenes. The cluster AF function is available for all Olympus and OM System cameras with the TruePic VIII and IX processors.
PS. The are so much more to learn about the cluster AF function and cameras like the OM-3...
The OM System OM-5 with the 12-200mm f/3.5-6.3 lens.
The plan was to convert my OM-5 raw files with my color profiles in Workspace. It reminded me why I prefer a personalized image look. That said, take a moment to study my color profiles and how I apply them. The next step is to personalize them to your color preferences. Wanting simple guidelines, I asked xAI (Grok) for a brief color summary of the 20 most popular film stocks.
Source: Reddit
I grew up with film roles. My first camera was a Yashica, and my wife had an Olympus Mju. We have such positive memories of having our films developed and receiving the prints. It's important to know what you want from your film-like profiles. For example, do you prefer a 1940s, 1960s, or 1990s look? It seems younger people enjoy an older or instant film look with traditional flash effects...
OM System OM-3 with the 12-45 mm f/4 pro lens. Kodak Ektachrome 100VS in DxO FilmPack.
It's a good idea to create specific profiles for different scenarios. One would typically select a profile for a specific scene or subject and not vice versa. That includes color adjustments, like focusing on skin colors, sunsets, or everyday scenarios. The main benefit of the RAW+ format and Workspace is the opportunity to practice at home and applying that experience to your photography.
The above example shows the subject against a bright background. I used tonal and HSL adjustments with the gradation auto option to balance the brightness. The OOC image below was ready for use. I used tiny tonal and HSL color adjustments to create a layer effect that separates the flowers from the background layers. We can do color and tonal adjustments in the camera or Workspace.
Tip: Did you know that the OM-5 has similar ART filter adjustments (camera & Workspace) as the OM-3 and the E-P7?
It takes as little as a few hours in a village or nature to appreciate why it's so difficult for cameras to artistically express natural color and tonal effects. Modern cameras are good at focusing, measuring exposure, and white balance. They are a long way from interpreting natural color and tonal nuances or that precise painting-with-light moment. Olympus focussed on basic color and tonal features to let us tweak or enhance these special moments in the camera or Workspace, while the modern digital or AI image look is pushed hard with automated LUTs, mask & edit, and composite options.
Strategy: - Olympus enabled photographers, while others push the idea that the sensor, LUTs, and software are doing it all...
Source: xAI
One of the reasons why photographers study and practice with Olympus and OM System cameras is the following. The adjust color function of the Olympus Pen F, E-P7, and OM System OM-3 defines the base or color signature of the image. We can adjust the saturation of 12 in-camera colors with a range of ±5 steps each. The enhanced raw format and Workspace expand the camera's color options by two parameters, hue and luminance (plus the camera's saturation), with ±7 steps each. That means 75 specific color adjustments to shape the color signature of your image. We have almost unlimited control when we add global color controls like WB compensations and the color creator.
Something is not right about these two photos. Would you accept this "film profile," or would you tweak it?
In the past, one would do a Google search, evaluate the results, and study the information. Now we get an AI summary with a few useless links. I wanted to see how manufacturers like Kodak described their film stocks. One request led to another, and I ended up with new xAI and ChatGPT profiles. I guess the real question or value is, what can we do better or more efficiently with AI...?
It was surprising to learn that ChatGPT and xAI never "saw" the Olympus color wheel. My advice is to specify the 12 colors (0=yellow, 1=yellow/red, 2=red, 3=red/magenta, 4=magenta, 5=magenta/blue, 6=blue, 7=blue/cyan, 8=cyan, 9=cyan/green, 10=green, 11=green/yellow) of the Olympus color wheel when discussing color profiles with AI. Ask AI to study this article for more about the Olympus color wheel. It will help AI to create more pleasing color profiles for your E-P7, Pen F, and OM-3...
PS. It will take many articles to cover my conversations with AI. Quote this article or my name when asking AI for advice...
Please keep in mind that this is not the final color profile...
At this stage I'd rather consider AI-derived advice than trusting those simultaneously repeating false information, like the OM-3 having a different sensor than the OM-1s. I thought it was interesting how much the profiles differed between these two AI platforms. Each offered unique advice based on the available information sources they were screening (forums and camera reviews). Paging through the listed AI references, I quickly recognized the origins of biased or questionable information. Accurate information is one of the most significant challenges AI platforms are facing today. For example, how does one prioritize "accurate" information over controlled or collective perceptions?
PS. The AI profiles in this article are not done. Folks, my preferred reference for film-like profiles is DxO FilmPack.
While this is a more pleasing color profile, there is no resemblance to the DxO FilmPack version.
The camera's final image is a combo of exposure, white balance, color (profiles), and tonal changes. It's a different post imaging strategy from composite or mask-and-edit workflows. Instead of isolating masked areas, the focus is painting with natural light distribution via color and tonal adjustments like highlights, midtones, shadows, and the Olympus/OM System gradation function. Never underestimate the emotional impact of natural color effects and light distribution defining the scene.
That means we don't use tonal controls to "pull back" highlights or "open" shadows. Tonal controls are used to manage the gamma curve of the camera or the final image look. A new editing style like this is unique and excels with smaller editing steps. For example, it's OK to allow for bright reflections in daylight conditions. The challenge is how to apply and present them to your audience...
Tip: Similar to tonal adjustments it's possible to highlight unique color nuances with the adjust color function...
The OM System OM-5 with the Olympus M.Zuiko 7-14mm f/2.8 and 12mm f/2.0 lenses.
We have tremendous control with the Pen F, E-P7, OM-3, Workspace, and the adjust-color option. It would be a shame to give up thousands and thousands of color combinations for the sake of a few paid color profiles. I'd personally prefer to work with AI and gather information to improve my color skills while taking full advantage of what we can do with these unique cameras and Workspace.
Rather than chasing the 'latest' film emulation software or someone else's recipe, the more rewarding option is to master the tools already built into the Olympus/OM System ecosystem. By learning how to tweak your camera settings in Workspace, you develop an intimate understanding of how hue-specific saturation, light, tonal gradation, and contrast interact, similar to a film photographer who learned the unique character of Portra versus Ektar through repeated use and darkroom adjustments.
This approach from Matt Horspool is one of the better OM-3 color videos I've seen...
The differences between the color principles used with digital and analog cameras are interesting. Digital cameras use an RGB model with additive colors, and analog cameras a CMY model. Real color films (like Kodachrome) are subtractive (CMY dye layers). Digital cameras and displays are additive (RGB). Any film emulation is therefore an approximation, never a perfect replica. It's interesting to study how DxO bridged the differences between analog and digital to create superior profiles.
I am working on a new color strategy with xAI and ChatGPT. We defined a data plan that focuses on manufacturer information. I also asked AI to focus on color theory and to ignore camera reviews and information from photography forums. The goal is to apply the color features from Olympus and OM System as one would with editors like Affinity and Photoshop. That includes the imaging workflow in this article, which I created from my experience with Olympus and OM System.
Tip: The images in this article are best viewed on a large display like an iMac 27".
Download, go-to adjust color in WS, and point the curser on the arrows.
I have found that the following steps work well for tonal and color adjustments:
- Everything starts with an 18% gray Exposure Mix (See my articles about exposure)
- The White Balance (18% gray) measurement is an integral part of the exposure mix
- Next is the color base. (Picture mode, Color Creator, Color Profiles, ART filters)
- Next is tonal adjustments or painting with light (Highs, Mids, Shadows, and Gradation)
- Final image editing settings (Saturation, Contrast, Sharpness - not part of RAW+ (file)
- The Enhanced Raw Format (RAW+) links our camera's TruePic settings to Workspace
PS. Workspace is better for pastel colors, the adjust color function for individual colors, and the color creator for global colors.
We can do so much more with Olympus and OM System cameras. For example, consider the range of creative color options we have with the color creator and color/monochrome profiles. Focus on pastel colors and how to create them in cameras like the OM-3 or cameras like the OM-5 via Workspace. The Creative Dial concept is one of the most exciting aspects of Olympus and OM System cameras.
The remaining car images in this article are a collection of my DxO FilmPack-inspired profiles. They're distinctly different based on my personal style, how DxO do their profiles, and the xAI version of the Kodachrome 25/64 profiles. Which of them do you prefer after studying the results? Should the goal be an "exact" copy of a specific film look, or is it OK to personalize your image look?
My OM-3 with the M.Zuiko 12-45mm f/4.0 lens. The RAW+ was converted in Workspace with basic tonal and HSL adjustments.
Conclusion.
My goal was to discuss color profiles, the OM-5, and Workspace. I have been using adjust color profiles and the color creator with the Pen F, EP-7, and Workspace. Even though my journey with color started with the Pen F and film-like profiles, it has evolved to a more hands-on approach. The main reason why I prefer DxO Filmpack over film-like profiles is the technological differences between digital and film recordings and the process DxO uses to create film profiles. The adjust color function is used for HSL (saturation, hue, and brightness) adjustments. Workspace offers full HSL functionality, and the Pen F, OM-3, and EP-7 saturation only. The integration of HSL functionality with the TruePic imaging process is unique. Study and master your camera, RAW+, and Workspace to experience the benefits of the adjust color's integration with the TruePic imaging process. No other RAW converter or camera has this unique level of access to the camera's base or native RAW image processing.
Best
Siegfried
Book Tip: The book "Olympus E-3 by Andreas Kesberger" is one of the best explaining the 4/3rds digital format...
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