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.

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

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

3 Steps to create the camera's JPEG in Workspace

Last Updated:- 26th September 2024

Introduction.

I noticed this example while following some M43 forum discussions. An OM-1 photographer wanted to know why his converted Workspace Raw files were different from his out-of-camera JPEGs. I decided to experiment and see if it's possible to create a similar look and feel JPEG as the camera.

Another forum participant reported inaccurate colors from the OM-1 and Workspace. I converted one of my older OM-1 Raw files into a camera JPEG version. I rented an Olympus OM-1 shortly after the launch in 2022 to make a video about the new BSI sensor. My converted raw file was also different from the camera's JPEG file. I never saw this happen to any of my Olympus cameras. 

This screenshot is the camera's JPEG (left) and the converted Enhanced Raw File (right).

The above comparison is a screenshot of my converted Workspace RAW file and the EM1 III JPEG. One can easily see the exported JPEG from Workspace is identical to the camera's JPEG. What are the 3 things you would do to recreate the camera's JPEG in Workspace? Why do we need more steps to copy the Workspace conversion with Lightroom, Photoshop, PhotoLab, or any other raw converter?

In another DPReview discussion, I had a 3rd opportunity to compare an OM-1 converted Raw file to the camera's JPEG. The exported Workspace colors were the same as the camera's JPEG. This OM-1 had V1.6 firmware. My conversion was done with V1.2. Did V1.6 correct these discrepancies?

Basic information unique to Olympus M43 cameras and Workspace

Olympus photographers have the option to adjust (tweak) the camera's tonal response curve in the Camera or Workspace. That's why we say Olympus photographers adjust the camera's tonal curve, not only the highlights or shadows. It's critical to study and master this concept of tweaking the camera's tonal response curve. Can we tweak the camera's tonal response curve in Adobe Lightroom?

Study the illustration below and the two videos in this article.

One of the key features of Workspace is the ability to adjust your camera's settings. Photographers need the following skills for good image quality with Workspace and Olympus cameras. They are advanced exposure techniques and credible information about digital cameras and Workspace.

3 Steps to recreate the camera's JPEG image in Workspace

Step 1. Always use the same Color Space for the camera, computer, and Workspace. Your default color space should be RGB for all these components. Why RGB or RGB1998 for a Mac PC? We use the RGB color space to convert/edit our images, SRGB for the web, and CMYK for printing. I use 16-bit Tiff files for Photoshop because they have excellent information with RAW-like flexibility.

Step 2. The camera's image settings and White Balance reading are part of the Enhanced Raw File. That means the camera's settings plus White Balance data are available in Workskspace when we open the Raw. Study my articles on Workspace and the Enhanced Raw Format for more information.

Olympus was among the first to specialize in taking accurate white-balance readings. They understood the importance of using an accurate white balance. It takes experience and a good understanding of light and the direction of light to improve the camera's WB measurement of complex scenes...

Step 3. At this point, it's possible to recreate an accurate replica of the camera's JPEG in Workspace. This means we can create a synchronized JPEG in Workspace because we use the same color space as the camera and a copy of the camera's JPEG settings in Workspace. You shouldn't adjust your camera settings in Workspace if you plan to export a replica of your camera's JPEG file...

An example of opening an Olympus Pen E-P7 raw file in Workspace. The Enhanced Raw File inserted the data/adjustments on the right.

The RGB Color Space has a larger color gamut with more color information. This benefits the raw conversion color data plus the process of reviewing and adjusting the camera settings in Workspace. The question is, are we editing or optimizing our camera settings with Workspace? We can ask this question because we are reviewing and tweaking our camera settings in Workspace.

Can we transfer our camera settings to Lightroom, Photoshop, or DxO Photolab? These raw conversion and editing software packages were not designed (structured) for Olympus cameras. It's better to use an Olympus JPEG or 16-bit (Workspace) Tiff file if you prefer accurate Olympus colors...

Step 4. In this step, we evaluate our image and tweak our camera settings. In previous articles, I said we only see the Live View effect of our camera settings when we activate the RAW file in Workspace. This was inaccurate because these settings are active when we open the Enhanced Raw File in WS. The latest version (V2.3.2) of Workspace is quick and capable of producing excellent results...

See this article about Workspace.

E-M1 III with 75-300mm f4.8-6.7 II lens - ISO200, f5.6, 1/200 - I converted the Enhanced Raw File in Workspace and edited it in Photoshop.

Conclusion

Did the new M43 photographer adjust the brightness of his RAW file, or does the OM-1 have different colors? You can study the OM-1 photographer's photos here. The converted JPEG would change if he edited the RAW file. What would happen if he simply exported the JPEG version after opening the RAW file in Workspace? It takes practice to improve your results with Workspace. Those who learn about digital cameras, image sensors, advanced exposure techniques, and Workspace will enjoy Olympus cameras. I stopped converting my RAW files in Lightroom, Photoshop, or Photolab.

Photography is fun.

Siegfried

Advanced Exposure Techniques and Workspace

Last updated:- 17th March 2024

Introduction

I lost my left arm in a motorcar accident and have been on pain medication ever since. It's difficult to say which is worse, losing my left arm or the opioid-based pain medication. My wife and I worked hard to reduce my pain medication, and we reached the point of cutting it completely. Those who followed my blog know how it benefitted me personally and my ability to write better articles.

I bought my first digital camera in 1998, which also started my craving for that perfect digital camera promoted by camera reviewers and social media experts. Breaking free from commercially biased theories, repetition, and the collective social media influence is similar to walking away from addictive medication. I can write a book about these processes and the similarities...

Olympus EM5 II with 25mm f1.4 Leica - ISO800, f3.2, 1/25 - Enhanced Raw File converted in WS. I used my ISO to control the highlights.

I use a simple strategy or rule when studying technical info. I reject any "interesting" information that does not improve my photography. My understanding and articles about digital cameras focus on information that improves the average photographer's image quality. My regular readers appreciate the benefits of marketing free camera knowledge. This is an ongoing learning experience...

The technical aspects of cameras interest me the most. My wife and I enjoy taking photos and using them in different projects. We love photography and regard ourselves as hobby photographers.

Fuji FinePix A201 (2MP) compact camera. ISO100, f4.5, 1/45 seconds. Slightly edited in Photoshop.

My focus in 2024 and onward...

The challenge of learning and growing the MyOlympuOMD blog impacted my recovery positively. I will continue to develop the blog and plan to focus on used Olympus cameras while we are waiting for a real OM-System camera. This includes exploring unique cameras like the Fuji XT-5, the Sony ZV-E1, the Panasonic GM-1, and the EP-7. I also plan to create more YouTube videos in 2024. 

My focus will be the following subjects for this blog and YouTube:

• Videography with basic principles, casual videos, and documentaries
• Digital camera knowledge and techniques improving our photography
• OM Workspace, the Enhanced Raw Format, and general photo editing
• I am planning to write informative articles on older Olympus cameras

My first two videos for 2024

I uploaded 2 YouTube videos over the past 8 days. They give an overview of my articles on exposure and Workspace and will benefit those who prefer watching a video. I will create shorter videos in the future that will focus on specifics. I am working on my sound quality and will have a solution for my next video. Please subscribe to my YouTube channel and post your thoughts in the comments.

Color and FX-Blue Chrome effect for Olympus

Last Updated:- 3rd February 2024

Introduction

The illustration below is a screen copy of my Workspace "before/after" display. Study the links below for a description of the Fuji Color and FX-Blue Chrome effects. I combined these descriptions into one beta Chrome Effect for Olympus. The Fuji Color Chrome effects work for all Fuji "Picture Modes," whereas the Olympus Color Adjust function only works in the "Natural" Picture Mode. The final Fuji Chrome Series for Olympus cameras could be 3 chrome profiles. (Color, blue, and combined)

This short article discusses two processes for developing a new profile. Why are the Olympus EP-7 and Pen-F so different? All digital cameras work with global adjustments like saturation, color filters, and White Balance. They require a good understanding of working with Opposite Colors. For example, the Olympus Color Creator and White Balance functions use analogous and/or opposite colors. Only the Color Adjust Tool of Workspace, Pen-F, and EP-7 target specific colors in the image.

Fujifilm Color-Chrome Effect - link

Fujifilm FX-Blue Chrome Effect - link

Olympus Pen F with beta Chrome profile.

Fuji Color and FX-Blue Chrome Effect - Version 1

The unique aspect of this Chrome effect is the steps I used to create the profile. The profile is my reaction to the two articles discussing the Fuji Color and FX-Blue Chrome effects. This can happen to anyone seeing or learning something new and like to express that experience in a color profile.

Download this 1st beta "Color and FX-Blue Chrome.oes" profile. Use the Batch tool in Workspace to open and save the profile on your PC. See my Workspace How-to page for more...

Fuji Color and FX-Blue Chrome Profile.

The Fuji Color plus FX-Blue Chrome Profile is designed for the Pen-F, EP-7, and compatible OMDs. For example, I successfully tried the profile on Raw files from my EM10 II and the original EM-1. Only the Pen F and EP-7 have the Color Adjust function and will accept Color Profiles. The alternative is to apply these profiles via the Enhanced Raw Format to compatible Pen and OMD cameras.

Study the above profile data (summary) and the steps below to tweak the profile:

1. Use the "Auto" option for your WB, or select a unique WB. (Critical step) 
2. Use Exposure compensation and the histogram to set the ISO brightness.
3. Use the different Tone Adjustments to tweak the camera's Gamma Curve.
4. Some Olympus cameras, like the EM10 II, do not have a Midtones Slider.
5. Use Exposure Compensation for those cameras lacking a Midtones Slider.
6. The Auto or Normal Gradation option varies your final Tone Curve shape.

Olympus EM1 II with 18mm f1.8 lens - ISO200, f7.1, 1/800. The Enhanced Raw File was converted with the Fuji Chrome Profile.

The Tonal Adjustments in the Camera and Workspace are Gradation, Shadows/Midtones/Highlights, and the Workspace Tone Curve option. Why do we need ISO brightness (EC) and separate Tonal Data Adjustments? Workspace and the camera's Gamma Curve convert the sensor's linear raw data to a human (JPEG) format. Tonal adjustments let us tweak the Gamma Curve in the camera and Workspace. Exposure Compensation (ISO) is part of the camera's Exposure Formula.

Study this article for more on exposure compensation, image brightness, and ISO.

Olympus E-P7 with 17mm f1.8 lens - ISO100, f8.0, 1/200. The enhanced Raw File was converted with the Fuji Chrome Profile.

Use the Color Adjust tool of Workspace to tweak the Chrome effect. I studied the above information from Fuji and converted +/-50 Enhanced Raw Files to create this Beta profile. What is the next step? The next version of the Fuji Color Chrome effect will be based on Color Cards and Test Images from my Fuji XT-5 and the Olympus Pen-F. Mail me your feedback or input for the 2nd version.

An example of using multiple steps. 1. Tweak the Natural Picture Mode. 2. Tweak the Color Style. 3. Image jpeg adjustments.

One could also use multiple steps to create a unique image look. This is a more advanced option because the different steps happen simultaneously. We can add another level with the Luminance and Hue options of the Color Adjust tool. The Pen F and EP-7 do not have these options. The first step is global adjustments (opposite colors), and the second is specific colors. (Adjust Color Function)

For example:

1. Tweak the Picture Mode via Color Filters and the White Balance.
2. Tweak the colors in the Color Style with the Adjust Color function.
3. Jpeg adjustments like Contrast, Saturation, Clarity, Dehaze, and Sharpness. 

Olympus Pen-F with the 9-18mm f4-5.6 lens - ISO200, f4.5, 1/1250 - Version 2 of the Color Chrome effect.

Fuji Color and FX-Blue Chrome Effect - Version 2

I used a "controlled" studio, standard camera settings, and Color Cards. Both cameras were in Manual Mode, with the XT-5 at ISO125 and the Pen F at ISO200. That meant I needed to correct the ISO brightness of the XT-5's raw sample in Fuji's X Raw Studio. I exported the different raw images as 16-bit Tiffs. That meant the color samples were ready for Workspace and the Adjust Color tool.

I used these 16-bit samples in the "Compare Multiple Images" display of Workspace. This enabled me to copy the XT-5 "chrome effect" and transfer it to the Pen F color card. The illustration below shows the original and the new Adjust Color Style for my Fuji Color and FX-Blue Chrome effect. 

You are welcome to download the new version here. - link

What is the main difference between these profiles? The Color Cards allowed me to create a more accurate version of the Fuji Color and FX-Blue Chrome effect. Only the Adjust Color tool has the new Color Style values. None of the other functions were used to create the new Color Style. This allowed me to use default values for the remaining Camera and Workspace settings. Verify that only the Adjust Color tool was adjusted before you continue to edit the profile in Workspace.

The previous version of the Fuji Chrome Profile was created from the information I found. The profile consisted of a combination of the Adjust Color function and other image settings. As can be seen, this method is not necessarily incorrect. It's simply a creative reaction to general information. The second method is more reliable because I used a different Color Card for each camera.

The new Fuji Color and FX-Blue Chrome effect has a specific Color Style. We only need the color style to apply the new profile. Any other image tweaks, like Tonal Adjustments, are unique to the scene. This makes the new profile very unique. It lets users develop a basic step-by-step process for using the profile and editing images with the new Fuji Color and FX-Blue Chrome effect.

Olympus OM10 II with 17mm f1.8 lens - ISO200, f3.2, 1/2500. Workspace with Version 2 of the Fuji Chrome effect.

More info on the Fuji V2 Chrome Effect? The final profile is not only more accurate, but it is also more user-friendly. How could that be? Workspace has become my default raw converter and editor in the past two years. Workspace and Photoshop cover +95% of my editing needs. I export my converted 16-bit Tiff files to Photoshop. Like everything, the more we use it, the more we learn.

The new profile highlights one of the main differences between Olympus and other brands. Almost all brands use global adjustments, whereas Workspace, the Pen-f, and the E-P7 allow us to adjust global and targetted colors. Targeted colors are unique for Workspace, Pen-F, and the EP-7. What makes it different is that the camera's Adjust Color Style is part of the Enhanced Raw Format.

Olympus Pen-F with 17mm f1.8 and the new Fuji Color Chrome effect.

It's critical to master the main difference between targeted and global settings. The Color Creator is an example of using Global Settings. The Color Creator, White Balance, and Color Filters change the selected and opposite colors. Color profiles created with Global Adjustments need additional steps, like tweaking the Image jpeg Settings. Targeted color profiles are only done in the Adjust Color tool. The resulting configuration defines the new Color Style. That means more freedom to edit and tweak the remaining image (scene) settings because the Color Style stays fixed.

How to use the new Fuji Color Chrome Profile? The first step is studying the above chart. The next step is downloading the new profile. Save it in your Workspace profile folder.

Do the following steps to open and edit your Fuji Color Chrome effect in Workspace:

• Open any Pen-F or EM1 Raw file and select the "Load Batch Processing file" option.
• View the camera settings in Workspace. You will see only the Adjust Color was used.
• The Adjust Color settings show the Color Style. That means you have the right profile.
• Study the above chart for tips to tweak and edit your image. Apply small adjustments.
• You can apply the following editing steps in Workspace:-
• Focus on the critical Raw settings like (ISO) Exposure Compensation and WB.
• The next step is to tweak the Gamma Curve with different Tonal Adjustments.
• The final step is typical Jpeg Image Adjustments and the Noise Filter selection.
• Adjust the Fuji Color Chrome effect (Weak/Strong) with the Adjust Color function.

Olympus Pen-F with 9-18mm F4 lens - ISO200, f4, 1/1000. The Pen-F with the Fuji Color and FX-Blue Chrome effect.

Everyone should try the color samples below to create a Fuji Color Chrome effect. For example, I only used saturation with the Adjust Color function. You could add Hue and Luminance adjustments for a more accurate profile. I used saturation adjustments in Workspace because I wanted the new Fuji Color Chrome Profile ready for my Olympus Pen-F and the EP-7.

Conclusion

The next step is taking a few images with my Fuji XT-5 and Olympus Pen-F. This is the best way to test the new Fuji Color and FX-Blue Chrome effect for Olympus. The challenge is the winter season, with poor conditions and cold photo walks. That means my final testing will wait a while...

Best Regards

Siegfried

Olympus EP-7 with 17mm f2.8 lens - ISO200, f5, 1/200. The EP-7 image with the Fuji Color and FX-Blue Chrome effect.

Use these Color Samples and Workspace to create your Chrome Profile.