My Olympus E-M1 III with two amazing lenses...

Last update: 23rd October 2025 (Many interesting updates)

Do you think it's worthwhile to become an expert in everyday disciplines like brewing a cup of coffee, cooking a healthy meal, or being an event or wedding photographer or a ranger at a South African wildlife reserve like the Kruger National Park? Although I may not be a professional photographer in 2025, I had the privilege to develop an excellent understanding of the digital imaging process. Are you comfortable with the technical and optical aspects of photography and digital cameras?

Some of the most basic elements of digital photography are the camera/lens combination, exposure, sensor saturation, and SNR. The camera's aperture and shutter speed values control the reflected light exposing the sensor, which is an exact copy of the subject or scene. This does not change with computational features like GND filters, Gradation options, or V-LOG profiles. We manage reflected light with the so-called 4th exposure variable, which includes a flash, diffuser, or time of day. Does this mean social media talking points like dynamic range or noise are not 100% accurate?

Olympus E-M10 IV with the M.Zuiko 45mm f1.8 lens. ISO3200, f6.3, 1/25. I converted the RAW file in Workspace (Low noise filter).

The Olympus E-M1 III and the M.Zuiko 7-14mm f2.8 Pro lens are some of the finest M43 products. The Olympus R&D team excelled in firmware options, offering more control over the technical limitations of the image sensor. The result is Olympus cameras with high-sensitivity sensors, M.Zuiko Pro lenses, advanced TruePic image processors, computational features, the Enhanced RAW Format, and post-processing options like Workspace. Olympus successfully leveraged the sum-of-parts concept, while competitors focused on more megapixels, larger image sensors, and the premise that physical size is a reliable measure for technical efficiency. These include typical technical aspects like image noise, dynamic range, sensor saturation, and SNR. (See the photo/electrons graph for more)

Is physical size really a reliable measure for technical efficiency?

The Micro Four Thirds (M43) format benefits from a wide selection of quality M43 lenses. Olympus and OM System M.Zuiko lenses are known for affordability and high-quality optics. An in-depth discussion of the design philosophy behind Olympus cameras, M.Zuiko lenses, and the M43 digital sensor format would take months. Meanwhile, some forum experts argue that Olympus produced inferior quality and released cameras with lower image quality in an attempt to rebound from a corporate scandal. This raises more questions about the reliability of opinions shared by social media experts.

See this article for more about the E-M5 III and the "corporate" scandal.

PS. The images in this article is best viewed on a large computor screen.

Figure 1

The above illustration depicts a typical challenge photographers are facing on a regular basis. Why did the shutter speed drop by 1 EV in aperture mode and a focal length of 56 mm, or why did the sensor receive only 0.5 EV more reflected light? The variable aperture of the 24-200mm lens changed by -0.5 EV, which caused less light to reach the sensor. The resulting shutter speed advantage was +0.5 EV, which improved the noise in the image to the right (study the histograms). Olympus cameras and the large selection of M43 lenses make it possible to select the right camera and lens combination for our photography needs. For instance, the Lumix 35-100 f2.8 IS lens would have improved the SNR and image quality by up to 2 stops from f2.8 to 4.5. See my articles for more information.

The M.Zuiko 7-14mm f2.8 Pro lens

The M.Zuiko 7-14mm f2.8 Pro lens is the only ultra-wide-angle M43 zoom lens with a constant f2.8 aperture. It delivers exceptional results and is surprisingly small for an f2.8 wide-angle zoom lens. For example, the deep FOV benefit of M43 cameras makes the 7-14 mm an exceptional lens at f2.8. We have no less than five excellent M43 wide-angle lenses with variable and fixed apertures. What makes the 7-14 mm Pro lens unique is its secondhand pricing. Why would one buy a used 7-14mm f2.8 Pro lens and not the newer 8-25mm f4 Pro lens? Price is one reason, but more importantly, it's about application and what you want from a particular lens. The M.Zuiko 7-14mm f2.8 Pro is one of the best low-light options. The images below were taken with the E-M1 III and the M.Zuiko 7-14mm f2.8 Pro lens. I converted the Enhanced RAW files with my preferred RAW converter, Workspace.

The M.Zuiko 12-200mm f3.5-6.3 lens

What if the comprehensive range of M43 lenses is one of several reasons why real M43 photographers hardly ever need more megapixels? The M.Zuiko 12-200mm f3.5-6.3 is an excellent multipurpose lens and one of several reasons for not having to crop. It's possible to correctly frame and capture almost any scene from 12 to 200 mm, or 400 mm with the 2x digital converter. In other words, some need to crop to 20MP, while M43 photographers capture correctly framed images at 12, 16, or 20MP.

Olympus E-M1 III with the M.Zuiko 75-300mm f4.8-6.7 lens. ISO800, f6.3, 1/1600 I converted the RAW file in Workspace.

A fascinating aspect of the size and handling benefits of M43 cameras is illustrated by the slight color changes between the two images in Fig. 1. The image on the left was cropped in Workspace, and the one to the right filled the frame at a focal length of 56 mm. The camera measured a wider view with brighter skies on the left and more dark areas in the image to the right. Accurate exposure and white balance readings and the TruePic image processor are the main reasons why Olympus is famous for its Kodak-like colors. Another crucial aspect is having more tonal data to work with when the histogram is moving to the right. The benefits of learning more about digital cameras are huge.

My grandson and I enjoyed a photowalk with his Panasonic G3 and Lumix 14-42 and 45-200 lenses, which I purchased for $120 in Dec 2024. Our goal was the late afternoon sun and painting with light while enjoying photography and the beautiful Bodensee village. We had so much fun experimenting with light and different creative ideas. The camaraderie of spotting and photographing those unique light paintings was priceless. We have so many new ideas for our next photowalk.

Olympus E-M1 III with the M.Zuiko 12-200mm lens.

The M.Zuiko 12-200mm f3.5-f6.3 is a smaller lens option for day-to-day photography. My wife prefers her 14-150 because the 12-200 weighs more and is a little bigger. I think the 14-150mm is a great lens but prefer the 12-200 option. The IQ combined with the physical size and zoom ratio of the 12-200 is unbeatable. I appreciate why photographers want lenses like the M.Zuiko 50-200mm f2.8 Pro. The 12-200 mm is an amazing alternative for those looking for a smaller but capable package.

These highly acclaimed M.Zuiko lenses offer a range of 7 to 200 mm, fit into my shoulder bag, and have all the benefits and characteristics of ultra-wide-angle and long-range lenses. Surprisingly, the 7-14 mm, f2.8 Pro is selling at lower used prices than the 12-200 mm f3.5-6.3 lens. Both these lenses offer a distinct 3D look. The DOF advantage of the M43 format further enhances the 3D look.

Canon EF 24-105mm versus the Olympus12-200mm lens.

See this article about the 12-200mm lens and wildlife photography.

The following images were taken with the Olympus E-M1 III and the 12-200mm lens. I converted the RAW files with PhotoLab 7 and use a similar workflow for PhotoLab as Workspace. I prefer PhotoLab 7 because the modern AI look reminds me of those surreal HDR images. That and the Olympus sum of parts strategy make spotting and capturing the right moment fun, knowing that it takes only small tweaks to highlight the painting with light effects in my RAW files and Workspace.

Why do I think social media advice on noise and dynamic range is generally inaccurate? The advice most photographers get is something like, "Smaller sensors have more noise and less dynamic range." Social media experts also claim higher ISOs cause more noise. The truth is, dynamic range and noise (sensor + shot noise) are a function of the camera's design criteria. Higher ISOs mean the sensor is underexposed and at a lower SNR. The social media version offers only one option, whereas the truth has various options to manage the SNR. That's why one image has more noise while both were taken at ISO3200 (Fig. 1). Dynamic range is similar but needs a more in-depth conversation. See my articles for more. Can we trust any advice coming from the social media information layer?

It's often better to buy a used Lumix 35-100mm f2.8 lens for the M43 camera you already own than to buy an expensive Sony camera. How many M43 photographers made the mistake of purchasing an older FF camera or an expensive Sony with a silly "kit" lens because quality FF lenses are simply too BIG in price, size, and weight? I tried several FF combinations and always returned to M43. Folks, the basic technical and optical truths illustrated in this article apply to all digital cameras.

Best

Siegfried

Used M43 lenses for your E-M1 III or OM System OM-3

Last update: 11th October 2025 (Interesting updates, videos, and lens AF calibration)

The used camera market features 15 years of Micro Four Thirds and a significant part of photography with M43 cameras. Most photographers prefer a new camera, while many are rediscovering Olympus. Interestingly, social media concerns with the OM System OM-3 pricing often overlook the cost benefits of high-quality and used M43 lenses. I have been buying as much as 90% of my photography gear on the secondhand market. Those discussed in this article are used, and the ones I selected to capture the included photos are typically selling for less than $200 each.

Having owned the OM-3 for more than 6 months, it has become one of my most used M43 cameras. It does not compete with existing cameras like the OM-1 or my E-M1 III because, similar to the Pen F or the EP-7, the color and computational features of the OM-3 are a huge plus. OM System successfully repackaged the OM-1 II with its high-sensitivity and future-proof sensor into a creative package. Does the OM-3 support a shift from the traditional sensor focus to a creative or application focus?

I am looking forward to more capable camera bodies, lenses, and features from OM System. Will the 20MP Quad BSI sensor reach its full potential, considering OM System's version of traditional firmware and application improvements? Did OM System consider this trend with the E-M5 III, the OM-5, and the newer OM-5 II? Folks, the OM-3 is a worthy replacement for the Pen F and highly recommended for all Olympus M43 photographers interested in the evolving OM System experience.

I cannot help thinking the E-M1 III is as capable and competitive as 5 years ago...

I wouldn't buy new Panasonic lenses for my Olympus or OM System cameras because "Olympus" glass works better with Olympus cameras. I also think it's crucial to acknowledge OM System's commitment to the M43 segment. On the other hand, used equipment is one of many benefits associated with M43 cameras. The above Lumix lenses are available at bargain prices because they're previous versions of newer lenses. Many photographers mistakenly take forum experts seriously and want a current version of the "same" lens. Each M43 "upgrade" means the older version is an instant bargain.

See this video discussing the unique M43 and secondhand pricing benefits.

I am always fascinated by the consistent repetition claiming Pro lenses like the Zuiko ED 150-400mm TC1.25 Pro and the new ED 50-200mm f2.8 Pro are way too expensive. I also noticed that social media promoters like to suggest that M43 cameras offer inferior IQ and shouldn't be available at fair market prices. This implies that OM System shouldn't develop great products for professional and demanding wildlife photographers. It could also indicate that social media marketing managers are aware that competing manufacturers are struggling to match the current and installed M43 offer.

Imagine having a 10-year-old Olympus camera with many of the computational features found in the newer OM-3. The E-M5 II continues to be a very capable photography and hybrid tool in 2025. See this article for more about Olympus, OM System, and the social media information layer.

The OM-3 with the Lumix 35-100mm f2.8 lens. The JPEG (left) is normal and the JPEG (right) is a 20MP (2X) digital converted version.

I used Affinity Photo 2 to prepare the above layout. The images are unedited JPEGs and were taken against a bright background. I used HI (human intelligence) to "mask" and up the subject's brightness with a flash. The "Low" noise filter option of the OM-3 worked well with a saturated sensor and higher SNR. I realize that AI is a fascinating development and convenient in specific cases. I personally prefer the concept of "painting with light" while capturing and editing my images.

The Lumix 12-35mm f2.8 and 35-100mm f2.8 lenses are 2 of the more exciting used lenses. They are surprisingly small at f2.8, and the 35-100mm changes to a 70-200mm f2.8 lens with the 2-times digital converter. I also found that the color signature of these lenses is more analog-like, with a warm and less clinical character than newer digital lenses. The Leica 25mm f1.4 and the 20mm f1.7 are fast and great for low-light applications. I have had these lenses for years and love using them.

PS: Some want 40+ MP to crop, while others use Topaz or full resolution 2x digital M43 converters.

I've learned that smaller camera systems are increasingly important at age 65 or when photographing with one hand. My needs change as I learn more about my Olympus cameras and myself. I also enjoy the times I get to spend with my son and listening to his insight as a professional photographer. He often gives me the opportunity to experience FF cameras like the Sony A1 and the new Nikon RED ZR. You are welcome to visit his business website at Roar Visuals.

The Olympus M.Zuiko 12-40mm f2.8 Pro lens is one of the best M43 lenses. The secondhand prices of the original version dropped significantly after the "upgrade" and rebranding to OM System. While I agree the 12-45mm f4 Pro lens is a wonderful lens, I see many M43 photographers underestimate the value of f2.8 in terms of exposing the sensor and "in-focus" DOF. The 12-35mm and the 35-100mm f2.8 lenses are not only "Pro" quality lenses but also a fast lens combination from 12 to 100mm. 

I have always been a huge fan of the original version of the Olympus M.Zuiko 75-300mm f4.8-6.7. The original lens was launched in 2010 and the newer version in 2013. They share an impressive design with optical elements such as one super ED, two ED, and three HR lens elements. Olympus always included information about the optical elements used in their lenses. The M.Zuiko brand is known for top-quality and more advanced optical designs. I thought the newer version had a slightly different optical design but could not find the original lens diagrams in my database. The official lens data for these two are identical except for the new version, which has different optical coatings.

Olympus E-M1 III with the 75-300mm f4.8-6.7 lens. ISO1600, f7.1, 1/640. I converted the raw file in Workspace (Standard AI NR).

Olympus M43 cameras like the E-M1 range and the E-M5 III have a unique autofocus adjust function to calibrate your Four Thirds and M43 lenses. This function is also compatible with other M43 lenses such as Leica and Lumix. The SpyderLensCalc from DataColor was designed for a wide range of cameras. I used the SpyderLensCalc to create an AF profile for my M.Zuiko 75-300mm and my E-M1 III. A "default" setting of -1 was enough to improve the image sharpness and perceived image quality. I am by no means an expert but gained enough experience to only use this function if really necessary.

Olympus E-M1 III with the 75-300mm f4.8-6.7 lens. ISO320, f7.1, 1/160. I converted the raw file in Workspace.

I captured the photos below with my Lumix 12-35mm f2.8, the 35-100mm f2.8, and my Leica 25mm f1.4 lens. The cameras were the E-M5 II, the E-M5 III, and my OM System OM-3. See if you can spot the camera or lens combination for each image. I convert my enhanced raw files in Workspace.

Folks, the purpose of posting my images is to show the joys of everyday M43 photographers keeping an Olympus or OM System camera with them. That is also the reason why I convert and edit my raw files in Workspace. I converted and edited most of the following images with Workspace and the others with DxO PhotoLab 7. I have a similar workflow for PhotoLab as Workspace. I find it easy to get that "Olympus" look or color with Workspace. This is not the case for commercial raw converters.

PS: All the images were edited on a 27" iMac. They look better for me on the large sceeen.

OM-3 with the Lumix 35-100mm 2.8 lens. Poor light - ISO3200, f5.6, 1/2.6. I converted the raw file in Workspace.

Screen copy of my Workspace editing window. The original (JPEG look) on the left, and the converted RAW file on the right.

The above image was taken with the E-M10 IV and the M.Zuiko 12-45mm f4 Pro lens. It's an example of "painting with light" and converting the enhanced raw file with Workspace. I like to challenge you to find the right scene, spot the paint-with-light moment, capture the scene, and convert/edit the raw file in Workspace. Knowing that exposure compensation is a global adjustment and tonal adjustments target specific areas of the gamma curve, you can do the following. Find the right balance between exposure and tonal adjustments (highs, mids, shadows, and tone curve) to "pop" the scene. You want to highlight the natural light and feel of the scene by carefully tweaking the gamma curve...

Olympus E-M1 III with the M.Zuiko 12-200mm f3.5-6.3 lens.

The 4th exposure variable allows us to control available light with the time of day, artificial light, and diffusers or reflectors. For example, the right time of day lets us "balance" the external light to the internal lighting in a building. The above images are examples and a training opportunity. The goal is to highlight natural lighting patterns and not to change the default lighting of the scene...

Why is it good or necessary to tweak the camera's gamma curve in Workspace?

You are welcome to mail me your thoughts and an edited image...

Siegfried

Olympus E-M10 IV with the 40 to 150mm f4-5.6 R lens.

E-M10 IV with the 40 - 150mm f4-5.6 R lens. The Enhanced Raw file was converted/edited in Workspace (Color Creator and ART filter).