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Supports: ORF
An ORF is the undeveloped raw file an Olympus or OM System camera writes — a TIFF-structured container whose signature bytes (MMOR, IIRO, or IIRS) are deliberately non-standard, which is why no browser and few photo viewers will open it. PNG is the opposite: a finished raster image that opens everywhere and, in its full form, stores every pixel exactly. But "PNG" does not automatically mean "lossless" on this page, and the difference is one dropdown. This walk-through explains which Quality Preset gives you a true-colour render, which controls look useful but are inert for a raw source, and when PNG is the wrong target altogether. Files are uploaded over an encrypted connection, processed on our servers, and deleted automatically after a few hours — no sign-up, no watermark, never shared or made public.
.orf files onto the page or click "+ Add Files". Olympus raws are large, so upload dominates the wait; queue several and they convert with one shared set of settings.PNG output here runs down two different code paths, and the Quality Preset picks between them. On the Highest rung the image is written straight out by the PNG encoder and nothing else touches it. On every other rung the rendered image is passed to pngquant, a lossy palette quantiser, before it becomes the file you download.
| Quality Preset | Encoder path | What you actually get |
|---|---|---|
| Highest | PNG writer only, at maximum compression | A true-colour PNG. This is the lossless option |
| Very High (Recommended) | PNG writer, then pngquant at quality 0-95 | A 256-colour palette PNG |
| High | then pngquant at 0-90 | A 256-colour palette PNG |
| Medium | then pngquant at 0-80 | A 256-colour palette PNG |
| Low | then pngquant at 0-70 | A 256-colour palette PNG |
| Very Low | then pngquant at 0-60 | A 256-colour palette PNG |
| Lowest | then pngquant at 0-50 | A 256-colour palette PNG |
That matters more for a raw file than for almost any other source. Your Olympus sensor recorded 12 bits per channel; the default preset delivers an image with a maximum of 256 distinct colours in the whole frame. On a smooth sky or a portrait's skin tones the banding is visible. We reproduced the quantiser step on its own to confirm the behaviour: a true-colour test image containing nearly 400,000 distinct colours came back as a 256-colour palette image, with no colour count requested. If you are converting an ORF because you want a faithful render, set Quality Preset to Highest.
Three controls on this page look like they should help and do not, because of how the raw-source path is wired.
None of these are hazards — they simply will not repay the time you spend on them. The Quality Preset and Image resolution are the two controls that genuinely change the output here.
| Property | ORF (Olympus Raw Format) | PNG |
|---|---|---|
| What it holds | Undemosaiced Bayer sensor data plus EXIF and Olympus MakerNote tags | A finished raster image |
| Bit depth | 12 bits per channel on current bodies — DPReview lists the OM System OM-1 as 12-bit lossless-compressed | 8 or 16 bits per channel in the format; 8-bit palette on every preset here except Highest |
| Compression | None, or lossless | Lossless in the format; lossy palette quantisation on the non-Highest presets |
| Editing latitude | Full — white balance and exposure still recoverable | None — the render is baked in |
| Transparency | Not applicable | Full alpha channel |
| Typical size, 20 MP frame | Tens of megabytes | Often larger than the raw on the Highest preset; much smaller once quantised |
| Opens in | OM Workspace, Lightroom, Capture One, RawTherapee, darktable | Every browser, phone, and image editor |
| Best for | The archival negative | Sharing, web use, documents, screenshots |
PNG is a poor fit for a photograph you simply want to send someone: on the Highest preset a full-resolution Olympus render is frequently larger than the raw it came from, and on any other preset it is a 256-colour image. For sharing, ORF to JPG gives a much smaller file with far better colour fidelity at any sensible quality. For an editing master, ORF to TIFF set to the LZW compression type carries a lossless image with no palette step anywhere in the path. PNG earns its place when you need a lossless 8-bit render, an alpha channel for compositing, or a format a specific tool insists on — and in those cases, use the Highest preset. This converter also renders with neutral defaults rather than replacing a raw editor: recovering blown highlights or correcting a strong colour cast should happen on the ORF first.
Only on the Highest Quality Preset. That rung writes the render straight out through the PNG encoder with no quantisation. Every other rung — including the default, Very High — routes the image through pngquant first, which reduces it to a 256-colour palette. PNG the format is lossless; the pipeline in front of it on this page is not, unless you choose Highest.
Because for a source that is not already a PNG, no colour count is handed to the quantiser. It runs with its own default of 256 colours, so selecting 128, 32, or 2 in the dropdown makes no difference to an ORF conversion. The Dither switch beside it is in the same position. To reduce colours deliberately, quantise the finished PNG in an image editor instead.
Neither reaches the file you download. Compression speed is overwritten with the slowest, highest-quality setting just before the quantiser runs. Compression level is forced to maximum on the Highest preset, and on the other presets it only affects an intermediate file that is thrown away when the quantiser writes the final PNG. Leave both alone.
JPEG for almost every practical purpose — sharing, email, web, print orders — because it keeps full colour and produces a far smaller file. Choose PNG when you specifically need a lossless 8-bit render (set Highest), an alpha channel, or a format a particular tool demands. For a 20-megapixel frame the difference is stark: a Highest-preset PNG can exceed the size of the raw file it was made from, while a quality-95 JPEG lands in single-digit megabytes.
No. The raw's extra bits are editing headroom, and they are spent the moment the file is developed into a finished image. On the Highest preset you get a true-colour render of that development; on any other preset you get an 8-bit palette image. Either way the ability to recover a blown sky or re-set white balance lives only in the original .orf, so keep it.
Your camera's full frame, as long as Image resolution stays on "Keep original" — 5184 x 3888 from a 20-megapixel OM System body, 4608 x 3456 from a 16-megapixel Four Thirds body. If the result comes out smaller than expected, check that the resolution group has not been switched to a percentage or a height preset.
ORF is a TIFF-derived container that replaces the standard TIFF signature with Olympus's own bytes, so generic viewers reject it on sight. Beyond that, raw files hold undemosaiced sensor data that has to be interpreted with camera-specific knowledge before there is any viewable picture at all. Converting here does that interpretation on our servers, so nothing needs installing on your machine.
Both arrive and leave together: your file is uploaded over an encrypted connection, processed on our servers, and deleted automatically after a few hours along with the output. There is no account to create, nothing is watermarked, and your photos are never shared or made public. If you want the finished PNG smaller, run it through compress PNG; the ORF converter hub lists every other target.