Do I need to personalise my image style?

Last Update: 31st July 2023

Are you ready to create camera profiles with Workspace? Our ability to trace the image signal from the subject to the SD card improved over the past 3 years. This knowledge lets us do more with our Olympus cameras and WorkSpace. Let's discuss the benefits of knowing your camera and what we should know when photographing with Olympus cameras and editing with Workspace.

2MP FinepixA201 from 2002. Edited with Photoshop.

The Content:-

1. Introduction
2. Considering extremes and having a personalized style
3. How do we pre-edit what we see in Live View
4. A different way of creating your own image style
5. What does a personal image style look like?
6. Interesting editing Tips...
7. Conclusion

Also, see my other articles about WorkSpace:-

- The Enhanced Raw Format and Live View - link

- WorkSpace, the new Olympus image editor - link

- Workspace how-to page - Tips and tricks for WS - link

- Image editing with Olympus cameras and WS - link

- Olympus Pen F color and monochrome profiles - link

- Olympus Color and Creative Photography - Part 6 - link

- Filmmaking with the EM5 II and WorkSpace - link

1. Introduction

Digital cameras didn't cope well with fine details and delicate color nuances in the past. Many couldn't set the exposure or measure the white balance well, and technologies like anti-aliasing and noise reduction removed most of the fine details. Lenses designed for digital cameras were in short supply, and many photographers settled on a solution with adapters. Photographers accepted that digital cameras were a compromise, and image editors like Photoshop formed the bridge between the image captured with the camera and the final edited photo.

Did image editing hold its position as an enabler for digital photography? Some photographers find it rewarding to create the final image in the camera. Should photographers have the skills to create their own image style in the camera? What do people see when they study your photos?

Olympus EM5 II with Lumix 35-100mm f2.8 - ISO200, f5.6, 1/250 (Un-edited EM5 II jpeg )

Each photographer needs a unique photography style and brand. With photography style, I mean both the image from the camera and any raw conversion or image editing. This is one of the best ways to differentiate your photography from others. Your photography style will become the link between the results with your camera and your unique image editing style with Workspace.

Cameras are designed to provide neutral colors. For example, digital cameras use a standard Gamma curve, fixed White Balance options, and neutral contrast and saturation values. Many photographers think they capture neutral photos with these default "settings." This is not 100% correct because they are designed to give an average or neutral output for a wide range of applications.

Analog photography is similar. I used to give my personal preferences to the developers when I gave them my film roles. They would apply my "Photoshop" adjustments in the machine that developed my film roles. The result was my analog photos had my own unique style...

Which of the above images is correctly exposed? I did nothing special because the camera was set to automatically select these exposures. Did the camera use the best choice for each photo? I simply tilted the camera up and down to get these 3 exposures. My 17mm f1.8 lens will give 3 more exposure values. How does this example influence my sensor's saturation and ISO-to-SNR ratio? Take a moment and study this article about the Olympus Gradation Function.

We learn the following from this example. Knowledge is an enabler and allows us to manage the sensor and the camera's performance. The camera's focus point (tilt) and the FL of the lens influence the camera's exposure measurements. It's possible to capture these photos without clipping the highs or lows. The first step is to master your WB and exposure values and personalize your image style.

2. Considering extremes and having a personalized style

The following image was well-exposed. That means it's possible to recover the highlights and shadows. My aim was maximum image information. The result is a "flat" image which is not a truthful replica of the original scene. The advantage of using Olympus cameras is that Workspace uses the same settings as the camera. This allows us to tweak our camera setting with Workspace.

Many photographers will push the shadows and highlight sliders for more image details. Their goal is maximum dynamic range versus a truthful replica of the original scene. The result is a "flat" looking image. One of the best-kept secrets of using Olympus is to have it right the first time.

The Enhanced Raw file was converted in Workspace, and the 16-Bit Tiff file was prepped in Photoshop.

The illustration below shows the camera jpeg and the converted and edited raw file. I pushed the highlights and shadows hard to get more image details. You will see this image style does not have natural contrasts. Residential photographers typically need more highlight and shadow details and will push harder if clients ask for more image information.

The ongoing dynamic range debate and camera reviews challenge photographers unnecessarily. For example, social media creators are some of the most sensitive audiences. Do you remember the flat or "pastel" looking images that were popular with pink or orange overlays on Instagram?

3. How to pre-edit what you see in the WorkSpace Live View mode

It's good to consider the following as your own image style develops. We learned Olympus cameras and WorkSpace use the same image-processing engine. This enables us to create and test image profiles with WorkSpace.

We also learned the final camera Live View display is replicated in WorkSpace when we activate our camera setting in Workspace. WorkSpace uses our camera settings when we convert the Enhanced Raw File. This enables us to check and change our camera settings with Workspace. This is different from randomly adjusting random sliders in Lightroom or Photoshop... 

This "processed" jpeg file is directly from the EM5 II (see my camera settings below). It's possible to edit these settings in WS.

Here are the "image profile" that I used in the above EM5 II image:-

• Exposure compensation +2/3 EV (ETTR)
• Shadows set to -1 (curves)
• Highlights to -2 (curves)
• The contrast was set to +1
• Picture Mode was i-Enhance
• Gradation was set to Auto

The older EM5 and the EM10 II do not have the same Mid-Tones slider as newer Olympus cameras. I used exposure compensation for 2 reasons. One is ETTR, and the other adjusted my mid-tones.

4. A different way of creating your own image style

Below are two examples, one pushing for maximum shadow details plus a more balanced image. Both started with the same series of bracketed images but with different editing styles. I also used this high-detail HDR technique in Photoshop. 

You will have a more natural 3D look when you study images with a balanced shadow and highlight look. Shadows and highlights enable us to create more truthful landscapes. The sun's direction is also critical, and the camera focus points are key. Also, use leading lines and reference points.

Your client may prefer "hard" shadows or blacks. Theoretically, this was not possible with the older E3. That said, one can create clean shadows and highlight details with the Photoshop 32bit HDR technique. Here is another way of working with shadows and highlights.

I purposely distanced myself from getting the "perfect" image look as I started to refocus on contrasts and image style. I still work with highlights and shadows but with a different purpose. You may be forced to push the shadows or the highlights in Adobe Raw. This makes it difficult to create natural contrasts. Try this technique in those cases.

Study the example below. The converted RAW file's foreground visibility increased while maintaining a distinct contrast to the foreground, the water, and the mountains in the back. It would have been too easy to simply "flatten" the image by pulling the shadows up...

5. Examples of what a personalized image style looks like

All the images below were edited with distinct contrasts. What is your preferred image style? You will discover a natural feeling of depth if you evaluate the image below versus the original jpeg. I converted the Enhanced Raw File in WS and prepped it for the web in PS. This image stretched the EM5 II's raw file. Three +/-1EV bracketed files will give better results. Something interesting, I focused on the trees and any patterns in the background, not the details or counting leaves. 

The Enhanced Raw file was converted and edited in WS. The 16-Bit Tiff file was prepped in Photoshop.

The raw file was edited in WorkSpace, and the final steps with Photoshop.

The raw file below was edited in PhotoLab 4 and finished in Photoshop. Folks, PhotoLab 4 is the best raw converter for recovering images, plus it looks like a perfect match for Olympus.

As you study the image below, you will see the shadows on the left could have noise. The sensor is not saturated in the shadow areas, and we can expect less tonal data and more shadow noise. In fact, if you study the histogram, you will see the shadows are all the way to the left.

It was possible to capture a more detailed look by shifting the histogram to the right. If I were on holiday and wanted a quick photo for social media, then the EM5 II HDR function is enough.

Olympus EM5 II with Lumix 7-14mm - ISO200, f5.6, 1/400.

Panasonic LX100 12MP - ISO640, f2.8, 1/30 (RAW file edited with Photoshop w strong contrasts).

Olympus EM5 MKII with Lumix 12-35mm f2.8 - ISO400, f7.1, 1/400.

The final example represents a "new" image style I created in WorkSpace and added to my Pen F. I tested it with my late afternoon walks. 

I used the Color Creator to get a warmer-looking result. I also tweaked the white balance a little. Here are my camera settings:-

- Color Creator - Color 1, Vivid -1

- White Balance (Amber) -1

- Curves Mid Point -2

- Curves high +1

- Curves low -1

Select the correct scenes for your photography walk if you plan new profiles in WorkSpace. You can also use an image from the same camera in WS. 

Wait for WorkSpace to apply the changes after each adjustment. Take your time and check the before and after results. Carefully evaluate each adjustment before making another adjustment. Take full advantage of Workspace and your bigger PC screen when developing profiles.

6. Interesting editing Tips...

Only consider your photo session complete if your camera adjustments are verified in Workspace. This is made possible by the unique relationship between Workspace and Olympus cameras. Any camera will deliver good image quality if the sensor's saturation and the white balance adjustments are optimum. I did several articles in 2023 explaining this unique relationship between the sensor's saturation level and how well we expose the image sensor.

Workspace is not designed as a recovery service for incorrectly exposed images. It's also better with global adjustments. The most effective strategy is to convert your Enhanced Raw Files with Workspace and plan any advanced editing techniques with photo editors like Photoshop.

Here are a few videos for all photographers:-

- My most recent videos on Workspace.

- An interesting video on partial editing.

- Here are a must-see video on Photoshop.

- Here are a great video on colors and tones.

Olympus EM1 III with the 12-40mm f2.8 Pro lens. The Enhanced Raw File of this High Ress shot was converted and edited with Workspace.

7. Conclusion

Olympus cameras and Workspace offer much value and the ability to present any scene as accurately as possible. The most valuable advice I can give any Olympus photographer is to improve your knowledge of digital photography and cameras plus practice, practice, and more practice.

Pen F w 17mm f1.8 compact. Raw edited in PhotoLab 3, Adjusted contrasts & dark (black) shadows.

Photoshop, PhotoLab, Luminar & WorkSpace

Last Update: 28th Nov 2020

Most photographers are familiar with Photoshop, PhotoLab 3, Luminar 4, and WorkSpace. Others use image editors like Lightroom, ON1, Capture One, or Topaz. In 2005, when I bought my first digital camera, I learned all about image editing with Photoshop Elements 2 and Paint Shop Pro.

With this article, we will take a quick look at Photoshop CC, PhotoLab 3, WorkSpace, and Luminar 4. We discuss some of the strengths and weaknesses of these editors and how they complement each other when used together in post-processing.

Olympus XZ-1 - edited with PhotoLab 3 and Luminar 4 (Sky was replaced with Luminar)

When evaluating different cameras, it is always important to rate them on how edit-friendly each camera's images are. You probably think, why do that? Some brands are just more flexible during post-processing. For example, Panasonic is known for its sharp images. That said, older Panasonics had color issues with especially skin tones, greens, and blue skies. It was difficult to correct these colors. More recent models like the GH4, GH5, and the G9 is much better.

In terms of color and image editing, my favorite brands were always Olympus and Canon. The flexibility these brands have is just great. When Olympus launched the original EM5, it felt as if the dynamic range never stopped, especially when compared to the older EP3 or the Canon 700D, which I used at the time.

Paging through my EM5 image collection and studying the images, I was happy I always selected jpeg + raw files. If you ever wondered about raw files, my advice is to start as soon as you can. The reason simply is, raw editors continue to improve every year...

Olympus EM5 w 12mm f2 Jpeg file,  ISO200, f5.6, 1/1000 (No editing - as-is from the camera)

The above image is not really great but interesting in terms of post-processing. The reason is the sky was not clear and the position of the sun not good. My camera default profile settings were set to neutral. The best would have been to take the image in the early morning or late afternoon. The reason for selecting this image was, I wanted to push it a little and study how it reacts with the different image editors. See the descriptions below each image for more information on how I edited them.

The raw file - edited with WorkSpace

Raw file - edited with DXO PhotoLab 3

Raw file - edited with Photoshop CC

Raw file - edited with Luminar 4

The above images were all taken in Lucerne, Switzerland. As you have seen in the descriptions I edited the same raw file with different image editors. If you spend enough time editing the different images, it is possible to get them to look the same. The approach will be different for each editor, but with a little patience, you will see the results you looking for.

Having said that, working with the different image editors, you also learn the strengths and weaknesses of each of these image/raw editors. If you prefer more creative freedom I think Luminar is currently the most exciting option. On the other hand, PhotoLab 3 is very true and capable, especially when combined with DXO filters like FilmPack 5 or the Nik Pro collection.

Raw file - edited with PS then opened in Luminar as a filter - EM5 w 12mm f2.0 - ISO200, F6.7, 1/1000

That said, you should not underestimate Photoshop. It does everything these different editors specialize in. The main plus something like PhotoLab 3 or Luminar 4 offer, is the low cost, ease of use, and the fun factor. I also like how DXO does its lab tests, to measure camera, and lens data. They then use this data to improve the results from PhotoLab and Filmpack. This is especially interesting for Olympus.

Olympus XZ-1, ISO100, f2.8, 1/800 (jpeg)

The above image was taken in 2012 when my wife and I visited Paris. You will see this is again not a great image because I did all the mistakes one should avoid making. For example, I pointed the camera to the sky, and the camera then exposed for the clouds. The street-level was underexposed with increased shadow noise. The little Olympus XZ-1 is way more capable when exposed correctly. 

You will see from the other examples below, I again used different editing styles with these images. Some I edited like I did with the above examples and the final image, I opened the raw file in PhotoLab, then transferred the result to Photoshop. From Photoshop I used Luminar as a filter to replace the sky. This enabled me to apply and combine the unique strengths of each editor in one editing session.

Olympus XZ-1 - raw file edited in PhotoLab 3

Below you see the different image editors I used and the order in which I spend time with each:-

1. Photoshop CC (My main creative and complete image editor plus raw converter)
2. DxO PhotoLab 3 (Probably the best raw editor, especially for Olympus)
3. Olympus WorkSpace (Excellent raw and basic jpeg editor, free for Olympus owners)
4. Luminar 4 (The AI functions are truly amazing plus layers make it a more complete editor)

I also use Aurora and DxO FilmPack 5. Years back I started with Adobe Photoshop Elements and through the years I kept an updated copy of Elements. If Adobe added curves to Elements, I would cancel my subscription and only used Elements.

Olympus XZ-1 - raw file edited in WorkSpace

When you click on the above image it will open in the web viewer. Scrolling through the different images you will see the image cropping and keystone results are different for each editor. No real reason other than I should have done a little more effort with each.

My typical raw file editing sequence looks something like this:-

1. In some cases, I open and edit in WorkSpace, then export to PS
2. More difficult scenes with image noise I edit in DXO PhotoLab 3 then export to PS
3. In most cases, I start with the raw file in PS and also complete it in PS

I prefer to have Luminar 4 and FilmPack 5 as Photoshop filters. I seldom work with Luminar 4 in standalone mode. The reason is the included image organizer. This is also the reason I do not use Lightroom... It will be so much better if Luminar and Adobe gave us the option to stop/cancel the organizer. I have a great system that works well for me and never saw the benefits of changing.

XZ-1 - edited in PhotoLab, Photoshop & Luminar 4

Different editing styles will apply to different applications. When editing for prints I am much more conservative and I will focus on colors and details aimed at printing. Editing for the web is different and more fun or experimental.

Taken with the Olympus EM5 with 14-150mm lens - ISO200, f9, 1/400 (Edited and prepared in Photoshop)

Photoshop is by far the best tool to prepare and edit panoramas. The above image consisted of 6 raw files. Photoshop compiled the final panorama in raw and I was able to do my normal raw routine with Photoshop. Interesting with Photoshop is the Content-Aware tool and how it fills in the edges in the final panorama.

Above image edited in Luminar as Photoshop filter, changed the sky, and applied various AI settings

The above panorama and the next 3 images were all taken in Miami. Using Luminar, I replaced the sky in the panorama. The sky replacement was not perfect because the replacement sky was sized for a single image and not a 6 part panorama. The raw post-processing with the next 3 images started in PhotoLab 3, then exported to Photoshop. From Photoshop I used Luminar 4 as a filter to edited any special effects.

Olympus EM5 w 14-50mm, ISO200, f7.2, 1/640 (PhotoLab 3 plus Photoshop plus Luminar - no sky replacement)

Olympus EM5 w 14-150mm, ISO200, f6.3, 1/800 (PhotoLab 3 plus Photoshop plus Luminar - no sky replacement)

Taken with the EM5, raw file edited - I let you guess what was done with this image...

The next two images were taken in Germany in a lovely village close to Frankfurt. You can literally spend weeks in this village and create many masterpieces...

Olympus EM5 with 14mm f2.5 - ISO800, f3.5, 1/60 (Raw edited in PhotoLab 3 and completed in Photoshop)

The same image edited in Luminar - sky replacement, added glow, and a few other AI adjustments

The next two images were taken in 2007 when I visited Nürnberg. The images were taken with the G7 and the E410. The E410 was in raw format and the G7 in jpeg format. When comparing these results with those I edited in 2007, the difference is day and night. One can literally spend hours going back a few years and re-process raw files...

Olympus E410 with 14-42mm Kit Lens, ISO100 - Edited with PhotoLab 3 and Photoshop

Canon Powershot G7 - ISO80, f4.0, 1/500 - Edited with PhotoLab 3, Photoshop, and Luminar 4

The time I spend editing the different images in this article was less than 5 minutes each. Normally I spend more time per image. The fun factor of working with these different editors is huge. One of my next projects will be to take more and exciting skies for Luminar 4. This is probably the most fun aspect of Luminar 4.

Do you need to have all these different editing tools? Anyone of the editors discussed in this article is great and more than enough. If I had to recommend an editor or filter option, my choice would be Luminar 4. WorkSpace combined with Luminar 4 is more than enough and really powerful.

Olympus EM5 with 12mm f2.0 - ISO200, f9.5, 1/500 - (Raw file edited in PhotoLab 3)

Edited in PhotoLab 3, then transferred to Photoshop and sky replacement in Luminar 4

When you study the above image you will see I replaced the sky. Can you see the mistake? This is an important question because the final result should always look realistic... See my Instagram account for more examples. (TIP:- look at the sun)

The images below were all taken in different locations like South Africa, Switzerland, and Sardinian. I used different editing combinations with different editors...

Panasonic LX100 - ISO640, f5.6, 1/60 - Raw file edited with PhotoLab 3

Olympus EM5 II with 14-150mm MKII - f5.6, 1/640 - Raw file edited with PhotoLab 3

Olympus EM5 II with 12-50mm - ISO200, f5, 1/200 - Raw edited with Photoshop and refined in Luminar 4

Olympus EM5 II with 17mm f1.8 - ISO200, f4.5, 1/1000 (ETTR +0.7EV) - Raw edited with PS and Luminar 4

Oly E-620 with 18-180mm - ISO100, f11, 1/100 - Raw edited with PS, then edited in Luminar 4 (no sky replacement)

Pen F Profiles with DXO FilmPack 5

Last Update: 7th Aug 2021

Introduction

Ever wondered what it's like to work with Fuji film simulations on your Olympus camera? Do you like to have more flexibility or are you happy with the standard camera adjustments, like sharpness, saturation, and the WB sliders? With the Olympus Pen-F and E-P7, it's possible to create Color and Monochrome Profiles in the camera.

For example, I was curious about these film simulations in Fuji cameras, so I tried the Fuji XT-10. The Fuji simulations are interesting and they are fun to use. The downside, it's not possible to fine-tune these profiles. You literally end up with the same look as any other Fuji photographer. The benefit of using Fuji film simulations, these are complex profiles and ready to use.

It is possible to create similarly complex film simulations in WorkSpace because the Color Creator in WorkSpace allows the photographer to set the saturation, hue, and brightness. With the Pen-F and the E-P7, it's only possible to adjust saturation with the Color Creator. 

See this article for more on Enhanced Raw files...

This article describes a unique method to create your own color profiles. I created different color cards with DxO FilmPak 5, and each of these color cards represents a different film simulation. Included is a standard "neutral" color card with no film look.

Probably the most important piece of advice I could pass on is to allow yourself lots of time. If you are new to creative color concepts, allow yourself lots of time and practice. It literally took me months of studying, practicing, going back to articles I read before, and to keep trying. The same is true for WorkSpace. It's a remarkable piece of software once you master it. I can only encourage readers to keep on studying my article and to keep on practicing. It's so much fun when you win...

Why create Fuji or Kodak film simulations for the Pen F?

DxO claims that..... "DxO FilmPack 5, faithfully applies legendary color-negatives, black and white film presets or slide film presets for digital images."

FilmPack 5 has different Kodak, Agfa, and Fuji film presets. The user can further modify these presets and save them as personalized profiles. If you asked me, I personally prefer working with FilmPack 5. The only reason I develop my own "scaled-down" Pen F profiles is the fun aspect and to have my own profiles when I am out photographing.

How to Create your own Profiles?

The secret with the Pen F is to know that you cannot simulate a film look as accurately as you would with DxO FimPack 5 or WorkSpace. Always use the raw + jpeg option on your camera so that you have the ability to edit your "Enhanced Raw" files in WorkSpace.

Further down in this article I created 5 image groups. Each group has a set of images with a master (neutral) on the left and a film simulation on the right. The process of creating your own profiles is simple. As you studying the film simulation, adjust the master until they look the same.

The final group of images is the same film simulations but now they are applied to a Spider Color Checker. You can download the master (neutral) color checker and the different film simulations here. I matched the colors on the Color Checker to colors on the Color Creator in WS. See my WS how-to page for more info on the V1.5 update and the new color additions.

Olympus WorkSpace

DxO film simulation and master color card opened in WorkSpace

To create your own profiles, open both the film simulation and the master copy in WorkSpace. The film simulation is your master and your aim is to apply the colors in the film simulation to the master copy with the WS color creator. This really is an advanced method of creating profiles and requires lots of practice. See the steps below and see if they work for you:-

• Before adjusting the master, study the 2 templates. Summarize all the differences
• Identify the dominant colors or any specific look like pastel and write it all down
• The numbers on the color card correspond with the numbers on the color creator
• It works well to start with RGB colors, followed by CMY colors, then adjust the rest
• List the steps and color sequence you think you need to follow when creating the profile
• These first few steps are important because its a process you develop and improve on
• Start with RGB colors adjusting saturation, hue & luminance, then CMY and others
• Adjust small steps at a time, finish one color before moving to the next
• Some colors have more than one number - it takes a little more time to master
• Make regular breaks - after 15 minutes they all look the same...
• The final step is to test your profiles and to compare them with the profile images
• I strongly recommend you get DXO Filmpack 5. These are still the best profiles

The best way to develop your own profiles is practice. As I listed above starting with RGB colors is one way of progressing when building your profiles. Another method that works well is, follow the above steps analyzing and prepping your new profile. Instead of starting with RGB colors, follow these steps:-

• Select "All Colors" on the creator and test if a "global" saturation change is required
• Deselect the "All Colors" and target individual colors following the next 3 steps below
• Next target all the single-digit colors and adjust them (Example is the colors marked "1")
• Next adjust colors with double numbers, where one of the numbers were one of the above
• You will see very few numbers are left to adjust after following the above sequence
• Testing and fine-tuning your new profile is critical - this takes time and patients

Keep in mind the Color Creator in WorkSpace is more powerful than the Color Creator in your Pen F. You will typically build separate profiles, one for WorkSpace using the 3 color profile options Hue, Saturation, and Brightness, and a separately simplified profile for the Pen F using only saturation.

Color Profile in WorkSpace

As said, it is a little more challenging to create profiles for the Pen F because the Pen F color profile will mainly have saturation changes. Think of combining the color creator with curves and contrast adjustments, or in special cases fine-tune the camera WB sliders to get a final look. I mostly develop my Pen F profiles with WorkSpace. When done, I enter the profile manually into my Pen F.

I keep a list of all my profiles information on my mobile phone. For more information on how to save your Pen F profiles to your PC, see my WorkSpace, how-to page (Technique #7).

The image below is from this Olympus website.

Image pulled from the web with Exif data of the profile used

See my Creative Color series Part 6, discussing how to work with color in WorkSpace. You could also consider downloading a test version of DxO FilmPack 5.

Use the master color checker to copy Fuji profiles or any other profiles you like to use as inspiration. Always have a separate master copy ready and use a "working" master to photograph or apply software profiles as inspiration when creating new profiles.

Images Group 1

Images Group 2

Images Group 3

Images Group 4

Color Checker Group