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Supports: ORF
.orf file, not just the embedded preview. Batch is supported — drop in a folder of ORFs and each one converts in parallel, then download them as a single ZIP.ORF stands for Olympus RAW Format — the proprietary raw image format written by Olympus and OM System (OM Digital Solutions, which took over Olympus's camera business in 2021) cameras, from the PEN and OM-D mirrorless line to TG-series Tough compacts. Like other camera raw formats it is built on the TIFF structure, and it stores the unprocessed 12-bit or 14-bit readout straight from the sensor, plus a full set of EXIF and Olympus MakerNote metadata and an embedded JPEG preview.
That sensor data is exactly what makes ORF powerful for editing and exactly what makes it awkward to use anywhere else. A raw file is not a finished picture — it has no fixed white balance, contrast, or sharpening baked in, which gives you enormous latitude in a raw editor but means most apps, websites, phones, and photo frames can't display it at all. Converting "develops" that raw data into a standard image the rest of the world can open. The common reasons people convert away from ORF:
Because ORF is proprietary and tied to Olympus/OM System software, many archivists also convert to or store alongside an open format. Adobe's DNG (Digital Negative) is the documented, vendor-neutral raw container the U.S. Library of Congress recommends over undocumented proprietary raws — useful context if you're thinking about long-term storage rather than a one-off export.
| Format | Type | Bit depth | Typical size (24 MP) | Best for |
|---|---|---|---|---|
| ORF (source) | Proprietary raw (TIFF-based) | 12–14-bit sensor | 15–25 MB | The editable digital negative; keep the original |
| JPG | Lossy, 3-channel | 8-bit | 3–8 MB | Sharing, web, prints, universal compatibility |
| PNG | Lossless RGB | 8 or 16-bit | 20–60 MB | Editing, graphics, screenshots, no JPEG artifacts |
| TIFF | Lossless / uncompressed | 8 or 16-bit | 40–140 MB | Archival masters, print, re-editable deliverable |
| WebP | Lossy or lossless | 8-bit | 2–6 MB | Web delivery, smaller than JPG at similar quality |
| Document wrapper | n/a | varies | Emailing, printing, bundling several photos in one file |
| Property | Value |
|---|---|
| Full name | Olympus RAW Format |
| Written by | Olympus and OM System (OM Digital Solutions) cameras — PEN, OM-D, OM-1 and OM-5, TG-series Tough compacts |
| Structure | Built on TIFF, like most camera raw formats |
| Sensor data | Unprocessed 12-bit or 14-bit readout, stored before demosaicing |
| Compression | Uncompressed or lossless-compressed, depending on the camera body |
| Embedded preview | Yes — a full-size JPEG preview plus smaller thumbnails |
| Metadata | Standard EXIF plus Olympus MakerNote fields |
| Colour rendering | None baked in — white balance, contrast, and sharpening are applied at develop time |
| Typical size | 15–25 MB for a 20–25 MP frame |
| Open alternative | Adobe DNG, the documented vendor-neutral raw container |
ORF is Olympus/OM System's raw format, so it opens natively in OM System Workspace (the free editor for Olympus and OM System cameras) and in raw-aware editors like Adobe Lightroom, Photoshop, Capture One, and darktable. Operating systems can preview many ORFs too — recent macOS shows them in Preview and Photos. The catch is that support depends on having a recent codec: a brand-new camera's ORF may not open in an older app until the developer adds that body's raw profile. If a tool refuses to open your ORF, converting it to JPG, TIFF, or PNG here sidesteps the codec problem entirely.
Converting from a 12–14-bit raw to an 8-bit JPG discards tonal data — that's inherent to JPG, not to the conversion — but the visible image quality stays high if you keep the Quality Preset at "Very High". The bigger thing you lose is editing latitude: a JPG bakes in white balance, contrast, and sharpening, so you can't recover blown highlights or push exposure the way you could from the raw. The practical advice is to keep the ORF as your master and treat the JPG as a deliverable. If you want a high-bit-depth export with no lossy compression, choose TIFF at 16-bit instead.
Both are lossless, so it comes down to bit depth and metadata. Choose 16-bit TIFF when you want the most tonal headroom for further grading or print — it preserves far more of the raw's dynamic range and is the standard archival/print master. Choose PNG when you need a lightweight, web-and-app-friendly lossless RGB file and 8-bit is enough; PNG is more broadly supported in general-purpose tools and browsers but tops out at typical editing needs rather than archival ones. In our testing, a 20 MP ORF exported to 16-bit TIFF lands around 110–120 MB, while the same frame as 8-bit PNG is roughly 30–45 MB.
For standard targets like JPG and TIFF, the converter carries over core EXIF — camera model, lens, exposure, ISO, and date — so your shots stay organized and searchable. Olympus-specific MakerNote fields (Art Filter settings, in-body stabilization parameters) and the original raw sensor data are properties of the ORF itself and aren't reconstructable from a rendered JPG, so keep the ORF if you ever need them. Formats without a metadata container, like BMP or plain PPM, won't retain EXIF.
WebP for the smallest files at good quality, JPG for the broadest compatibility. WebP typically produces noticeably smaller files than JPG at the same perceptual quality and is supported in every current major browser (Chrome, Firefox, Edge, and Safari 14+), which is why it's a strong default for site imagery. If you need a file that opens in absolutely everything — older devices, email clients, print kiosks — JPG remains the safest universal choice.
Because a raw file has no fixed appearance to reproduce. An ORF stores sensor readings, not a picture, so every piece of software that opens one has to decide how to demosaic it, what white balance to assume, and what tone curve and sharpening to apply. Olympus's own software applies Olympus's interpretation — including Picture Modes and Art Filters, which are rendering instructions rather than pixels — while a third-party renderer applies a neutral default. The result is usually a flatter, less contrasty image than the JPEG preview your camera showed you on the back screen. If matching a specific look matters, do the developing first: open the ORF in OM System Workspace, Lightroom, Capture One, or darktable, apply your settings, export a finished JPG or TIFF, and convert that.
No, and it is worth understanding why. This converter develops a raw file into a finished image — JPG, PNG, TIFF, WebP, and so on. DNG is not a finished image; it is a raw container, so producing one means repackaging the original sensor data rather than rendering it. That job belongs to Adobe's free DNG Converter or to a raw editor that can export DNG directly. If your goal is long-term preservation rather than a shareable file, that route is the right one — DNG is the documented, vendor-neutral raw format the U.S. Library of Congress prefers over undocumented proprietary raws. If your goal is simply a picture you can open, use, or send, exporting to TIFF or JPG here is the faster path.
Files are uploaded over an encrypted (TLS) connection, processed on our servers, and deleted automatically after a few hours — there's no sign-up, no watermark, and your photos are never shared or made public. If you'd rather not upload originals at all, raw editors like OM System Workspace, Lightroom, or darktable can export ORF to JPG or TIFF entirely on your own computer; this tool exists for when you want a fast browser-based export without installing software.