OM System OM-3 and older Olympus cameras

Last update:- 18th June 2025.

I bought my OM-3 on March 6th while looking at cameras at a local camera shop in Switzerland. As a keen owner of Olympus cameras, I like to invite M43 photographers to review the following: Presume you own at least one of the cameras mentioned in this article. Has your favorite or go-to camera changed over time? For instance, is the OM-3 a welcome update for our aging Olympus cameras, and do you consider 20 MP or the associated data management advantages a plus or a drawback?

The Olympus E-M5 III with a Leica 25mm f1.4 lens (ISO 200 f1.6, 1/8000). I used the Kodak Porta 160 VC Color Profile in Workspace.

The OM-3 is a beautiful camera promising OM-1 II excellence and more IBIS efficiency. Could this be the next go-to camera for Olympus OM-D and Pen F photographers? For instance, the new menu has a steep learning curve, and it's annoying to be stuck while photographing or when searching for basics like gradation, digital zoom, and AEL/shutter options. The effort of familiarizing myself with the OM-3 feels similar to getting to know another camera brand, like the Fuji X-T5. 

OM-System OM-3 with the M.Zuiko 75mm f1.8 lens.

My current go-to options are the E-M1 III, E-M5 II & III, E-M10 IV, and the Pen F or E-P7. I especially value the cluster AF function of newer TruePic VIII/IX cameras, such as the E-M1 III, E-M5 III, E-M10 III/IV, E-PL9, and E-P7. Is the new OM-3 a worthy upgrade for the Olympus Pen F?

TIP: How to activate the Cluster AF feature for cameras with the TruePic VIII & IX? Select all the AF fields in the SCP and set the "AF Area Pointer to On2" (Gear menu A2 for the E-M5 III).

I used the Pen F with the Zuiko 17mm f1.8 lens. The settings were ISO200, f7.1, and 1/1250. I converted the Enhanced Raw File in Workspace.

Each Olympus M43 photographer should evaluate the following.

Did Olympus photographers dream about a Pen F II or a repackaged OM-1 with a Creative Dial? Did OM System alienate loyal Olympus customers by targeting wildlife and birding (BIF) photographers? Will Olympus photographers continue migrating to brands like Fuji, or does the OM-3 have enough creative appeal and potential to replace the Pen F or E-P7? Is it enough to know the OM-3 is a perfect replica of the Olympus OM-1 and matches your existing Olympus and M43 lenses? Is the OM-3 pricing argument really an issue, or a continuation of an old narrative claiming M43 cameras are inferior?

18th June 2025 update: Recurring complaints on various social media platforms seem to confirm a consensus among marketers in terms of the OM-3 countermarketing campaign. Key talking points include pricing, resolution, electronic viewfinder (EVF), and the M43 format. Considering the Swiss market, the OM-3 is priced 100 SFR higher than the Fuji X-T5 and only 300 SFR more than the new X-E5. The OM-3 offers significant advancements in creative and computational control when compared to both these Fuji models, particularly when utilized in conjunction with Workspace. 

The new bottom plate, handgrip, and OM-3 combo look beautiful and improve the practicality of one-handed photography.

OM System OM-3 images. I converted the Enhanced Raw Files in Workspace with Color Profiles.

OM System OM-3 with the Zuiko 12 - 45mm, f4.0 Pro lens. These are camera JPEGS with iEnhance and highlights +1 and shadows -1.

OM-3 with the M.Zuiko 12-200mm lens @ 200mm (400mm with the 2X digital converter). I converted the Enhanced Raw Files in Workspace.

Olympus Pen F images. I converted the Enhanced Raw Files in Workspace and used Color Profiles.

Having both the Olympus Pen F and the latest OM System OM-3 has been quite an experience. Since its launch in 2016, the Pen F has garnered significant popularity, raising the question of whether the new OM-3's form factor, creative color, and computational features will resonate in a similar way. The Pen F continues to deliver great flexibility and image quality in 2025. It is noteworthy that the M43 forum, which has reported technical OM-3 failures, has a history of negative feedback following the release of new Micro Four Thirds products. My OM-3 has been an absolute pleasure.

Moreover, it is great to experience the performance of the newer 20MP back-illuminated (BSI) sensor in relation to older Live MOS sensors. The reported 2 EV noise and 1 EV dynamic range advantage of the newer OM-1 sensor suggest actual sensor sensitivity improvements. I look forward to exploring this sensor in future articles. The different Pen F images were taken with my Pen F and the Olympus 75mm f1.8, 25mm f1.8, and the 12mm f2.0 M.Zuiko lenses. I applied color profiles and adjustments in the camera and subsequently processed the enhanced raw files in Workspace. 

See the info and Olympus OM-1 press release in this article.

Olympus Pen E-P7 images. I converted the Enhanced Raw Files in Workspace with Monochrome Profiles.

Like Olympus, Fuji has a history of designing and manufacturing a full range of mirrorless cameras with quality lenses. I tried Fuji's 16MP cameras in the past but decided to stay with Olympus. When Olympus sold the imaging business, I reconsidered and bought the X-T5 when OM System repackaged the E-M1 III. Many Olympus photographers looking for a new camera will question whether it's safe to buy from a company with a history of relabeling and repackaging older cameras.

Why did I buy the OM-3? While happy with my E-M1 III, I always wanted that final Olympus camera. The OM-3 was a perfect alternative. There is much to learn and write about the OM-3, and I look forward to discovering my new "OM-1." Does this make me an OM System or M43 photographer?

Would I buy an OM-3 if I am 10 years younger? The appeal of the Olympus OM-1 only endures that long. Without further advancements, OM System faces a challenging future. I would have been more optimistic if I had saw more innovation (features) for Workspace. See this article for more.

Fuji X-T5 images. I converted and edited the RAW files in Photoshop.

Olympus E-M5 III with the Leica 25mm f1.4 lens. ISO200, f5.6, 1/1000. I used my Fuji Velvia 100 Color Profile in Workspace.

Olympus E-M5 III images. I converted the Enhanced Raw Files in Workspace with Color and Monochrome Profiles.

Olympus E-M5 II images. I converted the Enhanced Raw Files in Workspace and used Color Profiles.

Olympus E-M10 II images. I converted the Enhanced Raw Files in Workspace.

EM10 II with 25mm f1.8 lens. I converted the ORF+ file in Workspace - Kodachrome 25.

Olympus E-M10 IV images. I converted the Enhanced Raw Files in Workspace and used Color Profiles.

Olympus Pen E-PL9 images. I converted the Enhanced Raw Files in Workspace and used Color Profiles.

It's good to know that the best camera is the one you keep with you. Experienced M43 photographers know they can expect excellent image quality from the above cameras. They are also a joy for casual and advanced M43 photographers. We know that 12 to 20 MP Olympus cameras with TruePic VI to IX image processors were conceptually and functionally leading the camera industry. The cameras listed in this article continue to offer great image quality, functionality, and performance in 2025.

This article shows one of the reasons why the enthusiasm for Olympus cameras.

E-M5 III with the Lumix 45 - 175mm lens. ISO200, f5.6, 1/800, -0.7EV. I converted the Enhanced Raw File in Workspace.

I used the OM System OM-3 with my Giuseppe Color Profile.

OM System OM-3 with the M.Zuiko 12-45mm f4.0 pro lens. ISO200, f6.3, 1/1000. I used my Kodak Porta 160 VC color profile.

The OM-1 and OM-3 share an excellent 20MP stacked BSI sensor and TruePic X image processor. The E-M1 III sensor and TruePic IX combo is a good alternative, with similar computational features. The E-M5 II & III introduced new features, laying the foundation for new models, and the E-PL9 and E-P7 are great options for having a camera with you. How does the new OM System OM-3 complement this mix? The OM-3 reminds me of the Pen F with its OM-D (OM-1) functionality. The Pen F stayed unique by not being a typical Pen or OM-D. Will this unique Pen F tradition continue with the OM-3? 

See this article for more about the rich history of innovation with Olympus.

The engineers at Olympus have successfully integrated the features of older OMD and Pen models with newer models, including the OM System lineup. For example, while older Olympus cameras allow for global color adjustments, the Pen F, E-P7, and OM-3 offer both global and targeted adjustments. The connection between these newer models and their older counterparts is facilitated by Workspace. Additionally, the Enhanced Raw Format (ORF+) enables global and targeted color adjustments on older cameras. Similarly, the Fuji X-T5 offers a comparable creative touch to Olympus through its film simulations, global color adjustments, and Raw Studio capabilities. It's a pleasure to 'paint with light' when using these cameras in conjunction with Workspace, Raw Studio, and DxO Photolab.

The OM-3 and the Lumix 45 - 175mm lens (ISO1600, f5.6, 1/2000). The DR improvements of the OM-3 made a visible difference.

The product photos in this article were shot with my Olympus E-M1 III. I converted the Enhanced Raw files in Workspace and the Fuji X-T5 raw files in Photoshop. Let's close with a final thought: I love the quality-to-savings ratio of filming in 1080p and photographing with 16 or 20 MP.

May 5th, 2025. I have spent three months with the OM-3 and agree it's a fascinating camera. I prefer high-quality products, and the film camera look reminded me of my OM-D cameras. The Creative Dial is probably the most exciting addition to an already impressive list of features, and yes, the OM-3 has more creative potential than my Olympus OM-D, Pen F, and E-P7 cameras. It's great to see that the latest DxO PhotoLab firmware update has added support for the OM-3.

The OM-3 with the M.Zuiko 75-300mm f4.8-6.7 lens. ISO 400, f6.7, 1/320, FL=300mm.

I sincerely believe that the team at OM System is commendable. However, given their short tenure in the camera industry, they appear to lack the fundamental legacy associated with the former Imaging team. This is particularly evident in the design of the OM-3, which prioritizes vintage aesthetics over practical functionality. For example, the absence of a handgrip, the placement of the On/Off switch, and the layout of the buttons on the top plate underscore key design aspects of modern cameras. The evolution of older OM-D and Pen cameras offers great insights into modern design.

The Canon 6D II with stunning images and  colors. Ultimately, the joy of photography transcends the camera we use.

Despite some annoyances, the new OM System OM-3 emerges as an exceptional camera, requiring only a brief adjustment period while providing remarkable creative control. I am looking forward to writing more about my older Olympus cameras, the new OM-3 and especially the Fuji X-T5.

See this interesting review of the OM System OM-3.

Best

Siegfried

More images taken with my Olympus OM-3 and the 75mm f1.8 M.Zuiko lens.

Tip: I added 2 Pen F images to the OM-3 colloection below. See if you can spot them.

I applied my Kodachrome 64 color profile to the ORF+ file in Workspace. The tonal settings are different for each photo.

I converted the Enhanced Raw file in Workspace with the Monochrome Profile function.

I converted the Enhanced Raw file in Workspace and used the Adjust Color function to desaturate the greens.

Canon 6D II with the 24 - 105mm f3.5 - 5.6 IS STM lens. I converted the raw file in Photoshop.

Workspace and the Enhanced Raw Format

Last updated: 23rd June 2025

In this article, we explore the distinct features of Workspace and how it sets itself apart from DxO PhotoLab and Lightroom. Photographers using Olympus and OM System cameras will find significant advantages in Workspace and the Enhanced Raw Format. For instance, Workspace simplifies the capturing of images and processing of raw files, removing the necessity for “muted” picture modes or external raw converters to produce high-quality images. Let’s examine the Enhanced Raw Format and the unique relationship between the camera’s TruePic image processor and Workspace.

Why the Enhanced Raw Format and not simply Raw files?

Some photographers express skepticism about the Enhanced Raw Format due to its lack of formal introduction. Delving into Olympus cameras allows us to rediscover insights that have been somewhat obscured during the transition of a century's worth of innovation to the OM System. By examining how Olympus has developed strategic technologies, we uncover that the Creative Color strategy originated in 2008 with the Olympus E-30 and took eight years to reach its full potential in the Pen F. In my research on the Enhanced Raw Format, I came across several technical notes from Olympus Japan that provided valuable insights regarding cameras such as the E-M1 II and the TruePic VIII image processor: “The TruePic image processor utilizes parallel blocks for exposure calculation, color reproduction, and effect synthesis, incorporating new and advanced metadata into the ORF file to ensure compatibility with post-processing.”

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 first learn about the Enhanced Raw format? I was aware that my camera settings could be accessed in Olympus Viewer 3. The significance of the connection between my camera and Viewer 3 became clear when I noticed the same functionality in Workspace. My goal was to document and explain the implications of this new raw format while actively seeking out additional information. For instance, I came across a quote in the 2016 Viewer 3 manual stating, “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.” Through my exploration with AI, I uncovered more references about the Enhanced Raw Format. I wonder if Workspace serves as the Pen F's equivalent in this context or if the formal introduction was overlooked during the transition to OM System.

Figure 1.

The Enhanced Raw Format (ORF+) lets us optimize our camera settings in Workspace. Central to this new format is a shared processing platform between the Truepic Image Processor and Workspace. This functionality allows us to edit our camera settings on a personal computer. For example, we can now finalize critical camera adjustments such as exposure, creative color, tonal adjustments, and others within Workspace. This development offers us the unique flexibility to modify our camera settings within the camera or through a personal computer in Workspace.

For example, selecting the "high" gradation option automatically configures an optimal ETTR (Expose To The Right) exposure. The Enhanced Raw Format allows us to view the Olympus gradation feature as an add-on to the camera's exposure and gamma adjustments. The purpose of ETTR adjustments is to effectively saturate the sensor, enhance the signal-to-noise ratio (SNR), and lower image noise. ORF+ enables us to finalize our exposure and gradation adjustments in Workspace. 

For instance, the exposure compensation slider of Workspace is linked to the camera's ISO setting in the exposure controller. The "normal" gradation option resets the camera's "high" setting. In essence, ORF+ enables us to tweak camera settings and adjustments in Workspace as if in the camera.

See this article for more on the Olympus Gradation function.

ETTR explains why sensor size is a myth. Please note that ETTR is an advanced technique primarily used in critical applications. It is not a daily technique one would use to lower image noise. However, a good understanding of the basic principles supporting ETTR, along with the flow diagram in Figure 1, can significantly enhance your photography skills and improve the quality of your images.

The next example explores Workspace and the Enhanced Raw format.

Olympus cameras use Digital ESP metering to assess exposure across the entire sensor, rather than just the cropped area defined by the aspect ratio. This is crucial, as the camera's display shows the cropped section. Users can select a 4:3 aspect ratio in the camera and the final ratio in Workspace. This approach allows for a better evaluation of exposure metrics. For instance, to achieve a specific exposure, one can employ the Auto Exposure Lock (AEL) feature by adjusting the camera's angle slightly upward or downward while monitoring the histogram and Live View display.

Olympus EP-7 with 12-45mm f4.0 lens. This is the original camera jpeg (ISO200, f5.0, 1/100).

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 Gradation's "AUTO" 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 recovering data from a JPEG. The above image illustrates the significance of knowing your camera, the Enhanced Raw Format, and having the camera's settings in Workspace. The alternative is an expensive full-frame camera, trusting the sensor does everything for you.

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 the camera's settings in Workspace. Today, we learn more about this new strategy from Olympus' press releases, Q&A pages, and product documentation.

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 access to the same camera data as Workspace.

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 utilize 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 can we learn about the Olympus E-P7 from this example?

The sensor received two levels of reflected light from the scene. The brightly lit areas displayed a higher light intensity, while the shadows were dimmer. Consequently, the signal-to-noise ratio (SNR) was less in the shadows, and the sensor was more saturation in the brighter areas. A lower SNR leads to more visible noise and less tonal data, limiting our ability to recover details from the shadows. However, we can enhance this scenario by employing a different exposure strategy.

I used Auto Exposure in Aperture Mode, which allows the camera to avoid clipping by choosing a 'safe' exposure. This 'safe' exposure results in a histogram that skews more to the left, providing a safety headroom on the right. Typically, this approach increases shadow noise due to lower sensor saturation and a reduced signal-to-noise ratio. However, the shadow noise is surprisingly minimal, indicating that the Pen E-P7 features a more sensitive sensor with a lower noise floor.

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?

After just a week with the OM-3, I like to share some preliminary feedback. The OM-System OM-3, featuring a larger body, a revamped menu layout, and exciting new capabilities, doesn't quite feel like a typical Olympus M43 camera. It's a beautifully designed camera, and I’m confident that many M43 photographers will achieve remarkable results with it. However, given its size, absence of a handgrip, and overall weight, it wouldn't be fair to claim that the OM-3 is a clear substitute for my Pen F. Is the OM-3 an intriguing camera? Absolutely, I’ve already received my complimentary camera strap and placed an order for the bottom plate handgrip combo. See this article for more.

It took some time to configure my OM-3 like my Pen F. The menu is very different from the familiar Olympus menu. For example, configuring the shutter button takes more than one menu. The results below speak for themselves. I used my familiar "ORF+" workflow in Workspace for the OM-3.

See my Workspace and ORF+ conversion/editing comments 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).

A few general questions and answers about Workspace

Do we need to select our camera settings in Workspace? In the past, I said 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 camera's 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 adjustments differ from full RGB data linked to the TruePic processor's 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 I discover any of the "new" OM-3 settings in Workspace? It would have been great to adjust the ND and GND filters using Workspace. However, it appears that none of the new OM-3 (OM-1) features are accessible in Workspace. The OM-3 seems to replicate the same data as previous Olympus OM-D and Pen cameras. Can we expect any innovations from OM System in the future?

Name 2 unique Workspace features. Workspace has many unique features and options. The first is editing JPEGs in Workspace. For example, some of the older Olympus camera ORF+ files do not have access the Adjust Color function. The solution is to save the ORF+ as a JPEG and edit it in Workspace. For example, it's possible to simulate layers with multiple JPEG edits. The second unique feature is the Workspace batch processing option (highly recommended). My primary raw conversion 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 appreciate the significance of the Enhanced Raw concept, and what are they planning for the future?

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 offers 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. They all have high quality 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).

I converted this OM-3 raw file in DxO PhotoLab 7. I prefer PhotoLab over LR or Adobe (ARC).

Chatting with xAI about image sensors...

Last Update:- 17th March 2025

Should you consult AI for camera advice, or is social media a safe option? AI services like ChatGPT and xAI offer valuable insights, especially when responding to well-defined queries. For instance, AI will recommend the Fuji X-T5 if you mention crop sensor cameras with a resolution of 30MP or higher. It's also important to consider the various information layers I discussed in this article.

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. (ISO200, f6,3, 1/20) I converted the Enhanced Raw File in Workspace.

What are the advantages of asking AI? Services like ChatGPT access vast amounts of information and are designed to list quick and relevant answers. I received excellent information when asking ChatGPT or xAI to focus on proven technical data. For instance, AI will access and repeat social media info if you don't indicate a preference for OEM, manufacturer, and technically sound information.

You are welcome to ask xAI the same questions I asked ChatGPT (below)...

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted these Enhanced Raw Files in Workspace.

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

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. I converted the Enhanced Raw File in Workspace. I used an ART filter and Live ND.

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

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

My next reply would have questioned the claim that some cameras capture more light. Yes, the image circle of full-frame sensors is larger than M43 sensors. Does that mean one captures more light? Both sensors have a full "field of view" (FOV) and are designed to saturate when fully exposed (receiving enough light). It's not a case of one capturing more light as suggested by social media advisors.

I stopped the conversation as I had to be somewhere else. I learned a few interesting lessons from this discussion, and have no doubt that both social media advisors and I will receive pleasing replies from xAI or ChatGPT. It's also clear that AI is trained to ask leading questions. It pays to stay focused, treat AI as a valuable source of information, and continue asking specific questions. Regarding quality info, I will ask AI to exclude social media sources promoting the oversimplified "size and capture" or "bigger is better" theory. This includes specific photography websites and forums. 

OM System OM-3 with 12 - 45mm f4,0 Pro Lens. (ISO200, f6,3, 1/80) I converted the Enhanced Raw File in Workspace.

AI discussions, learning, and summarizing conversations are time-consuming. My advice is to focus on clear questions and specific subjects. For instance, try the guidelines below:

• Prepare a short list of questions or the points you would like to cover.
• Let's assume we like to ask AI for information about the dynamic range,
• For example, say you like to discuss cameras and Dynamic Range (DR),
• AI typically replies with a brief definition for DR (if not, ask AI),
• Be ready with a few questions like:
• What is the listed dynamic range of 5 or 6 cameras (list the cameras)?
• What is the typical DR of a sunny day, a night scene, and cloudy days?
• Ask for cost-effective ways to control the scene and/or camera settings.
• Ask AI when photographers should consider upgrading their cameras.
• It helps to ask for an average percentage improvement you can expect,
• Add more specific DR questions to have all your questions answered.
• You can also save a link to AI conversations to continue the next day...

I trust this example will help you receive valuable AI feedback.

Siegfried