The histogram and digital imaging process...

Last updated: 8th April 2026

The positive memories of filming with VHS inspired my priorities while preparing the next update to my filming series with Olympus cameras. My goal was to prepare the final look of my images and video footage in the camera. That meant more advanced color and exposure techniques. I decided to use two Olympus E-M5 II cameras, as the unique film look of these cameras supported my VHS theme. It's also easier to set the look and feel of the recordings in the camera. I came across an interesting video from a YouTuber, Duade Paton, which encouraged me to prepare this short article in support of future articles. It's a good idea to watch his video before you study this interesting subject.

PS: My next article in my filming series will be out soon...

Olympus E-M10 II with the M.Zuiko 17mm f1.8 lens. ISO200, f4.5, 1/400. What do we learn from the histogram?

Basic guidelines to optimize your exposure mix

The histogram in the above image suggests an optimum exposure mix. The best way to confirm that is to evaluate the histogram with the camera's exposure mix. The goal is to check the saturation and the SNR levels of the sensor. For example, the histogram and native ISO indicated a saturated sensor. The exposure mix produced excellent image quality with a wide depth of field at f4.5. The 4th exposure variable (late afternoon sun) was ideal for this scene and the "painting with light" effect.

Summarizing the exposure mix and histogram of the above image:

• Histogram: A native ISO with no clipping and the histogram to the right.
• Native ISO: The sensor was saturated (with a high SNR) at the native ISO.
• Scene Luminance: The late afternoon sun and "painting with light" effect.
• Aperture: The right focus point and f4.5 created an optimum depth of field.
• Image sharpness: A shutter speed of 1/400th worked well for sharp results.

It's impractical to evaluate image quality at higher ISOs with only the histogram. The alternative is to add sensor saturation and SNR to the mix and to create your own personalized guidelines. The info in this article will help you document your "acceptable IQ" SNR values for your camera's sensor and ISO to SNR ratios. The reason is each camera model and sensor has a different noise floor.

Tip: LV (Light Values or scene luminance) - See the Duade Paton video.

Figure 1.

The above image signal flow diagram gives a high-level summary of the digital imaging process. It was created as a practical guide for photographers seeking an alternative to the oversimplified "bigger is better" or "capture more light" theory. The goal is to manage technical aspects like image quality, dynamic range, and image noise. The image signal flow diagram highlights:

• 4 critical aspects of the digital imaging process (lens, sensor, processor, and Workspace).
• the 3 variables exposing the image sensor (reflected light, aperture, and shutter speed).
• the sensor and why the photons to electrons graph is critical for managing the sensor.
• the exposure formula and the 4 variables we manage in the digital imaging process.
• the role of the TruePic image processor and managing the digital imaging process.
• the link between the image processor, the exposure calculation, and Workspace.

The question photographers fail to ask is, what causes noise, and how do we manage it? The answer is the photons-to-electrons graph. As the bucket-filling-with-water example has been used to promote the "size and capture" theory, it failed to explain critical aspects like image noise, sensor saturation, and SNR. Duade Paton added the role of "Light Values" in managing the exposure mix, noise (SNR), and ISO amplification. My suggestion is to add the following to his bucket presentation:

• A layer of sand at the bottom of the bucket to represent the sensor's noise floor.
• Explain SNR and the effects of ISO amplification and lower light values on noise.
• Sensor saturation and the link to SNR, "filling the bucket," or exposing the sensor.

PS: Saturating the sensor (filling the bucket) is not something magical linked to the size of the sensor...

Figure 2.

Many photographers never heard that lower SNR values cause more visible noise. The sensor's noise floor is always present; we just don't see it at higher SNR values. In other words, the layer of sand in the bucket is more visible with less water. The alternative for low-light conditions is saturating (filling the bucket) the sensor at the camera's native ISO, wider apertures, or longer exposure times. One could also plan lower SNR values with more noise when upping the ISO and shutter speed.

It should be clear that the ISO function does not create noise. One can, therefore, consider the ISO function as an amplifier or an creative option. For example, one can manage highlight clipping after setting the exposure mix. Set your nighttime city exposure mix, dial back the ISO with 1 or 2 stops, and correct it with the exposure compensation slider in Workspace. What is the difference between tonal adjustments and exposure compensation?

The information in this article enables us to explain and manage dynamic range in a similar way as we do with noise. We can also explain dual ISO with the above illustration. Dual ISO is another example of the FF collective withholding information because sales have priority over knowledge. 

PS: Visible noise simply means the sand (noise floor) becomes more visible with a partially filled bucket.

Olympus E-M5 II with the amazing M.Zuiko 7-14mm f2.8 lens. ISO500, f3.2, 1/10 sec. I converted the enhanced Raw file in Workspace. 

How to use the histogram

Always consider the ISO value as another variable in the camera's exposure formula. ISO amplification is the difference between a partially exposed sensor and an 18% gray exposure or saturated sensor. The camera uses 18% gray exposures to accurately calculate the ambient light and color.

Photographers were never "given" the opportunity to optimize the camera's sensor or manage specifics like sensor saturation, SNR, noise, dynamic range, or the exposure mix. The reason is social media distractions, like the histogram displays only 8-bit JPEG data, and ISO 100 on Olympus cameras differs from ISO 100 on other cameras, or we shouldn't trust the histogram because it's inaccurate. These distractions are totally irrelevant when you start applying the histogram. Why?

A more productive option is to practice the basic principles discussed in this article. For example, I always think in terms of f-stops (1 EV steps) while preparing the camera for a challenging shot. It's a real benefit to develop a feel for doubling or halving your exposure values. The most effective way to use the histogram is to use the image signal flowchart in figure 1 and manual mode on the camera to have the histogram and Live View highlight specific information. See the examples below...

Example 1 - Ambient light

I am always surprised at the level of ignorance or cognitive dissonance when people boast about using ISO 25600 on social media. For example, ISO 25600 means 7 stops of amplification, whereas the above images illustrate a 3 EV delta. The left image was amplified by 3 stops, or ISO 800, and the image to the right shows how much reflected light was reaching (exposing) the sensor at ISO 800.

The histogram measures the brightness of the pixels in the image. The horizontal axis represents the brightness levels from pure black on the left to pure white on the right (0-255 tonal range), and the vertical axis shows the number of pixels at each brightness point on the horizontal axis.

How did I measure the reflected light exposing the sensor? Start by setting your exposure in auto or aperture mode. Change to manual exposure mode and apply the autoexposure values. The histogram will display the reflected light exposing the sensor as you turn the ISO back to its native value. That means the histogram is measuring the reflected light passing through the aperture and shutter onto the sensor. The flow diagram in Figure 1 helps us to identify and target specific phases in the imaging process, and manual mode helps us to display them in Live View and the histogram.

For example, the goal with ETTR is to saturate the sensor. That means more reflected light reaching the sensor. One option is fixing the ISO and adjusting the shutter, aperture, and scene luminance. Use the histogram to follow the reflected light reaching the sensor. The final example is clipping. For example, it's possible to clip your highlights with ISO amplification, which means the sensor is not clipping. Use the histogram to establish which exposure variable causes clipping.

Olympus E-30 with the Zuiko 50-200mm f2.8 lens. ISO100, f5.6, 4" (An ambient light example)

The above image shows it's possible to saturate the sensor in low light. It's incorrect to link noise to low light because longer exposure times saturate the sensor. It simply means the bucket doesn't have to be filled instantly because the sensor is designed to also saturate over longer periods. Higher ISOs and shutter speeds are, therefore, application-specific. It is critical to consider the reflected light reaching the sensor when selecting your aperture and shutter speed mix. Unnecessary safety margins result in less light reaching the sensor, higher ISOs, and more visible noise (lower SNRs). 

Example 2 - Ambient light with +2EV illumination

The above example is exciting because I upped the scene luminance (4th exposure variable) with 2 EV. I used a similar method for the image with the cuckoo clock. I used a powerful LED light in the above example and selective lighting (painting with light) for the cuckoo clock photo. Selectively using or applying the time of day is another way of managing the scene luminance creatively.

Photographers often need higher shutter speeds in normal daylight conditions. Modern cameras are more efficient at lower saturation and SNR values, which makes higher ISOs of up to +3 stops "normal" in such conditions. Study the inserted 200% cropped gray card in these photos. We can also manage the SNR to selectively add noise to the monotone (B&W) or monochrome picture modes.

I never consider social media talking points like noise, DR, diffraction, or image quality when I am out photographing with my Olympus cameras. I also don't use personalized ISO guides for my cameras. A basic understanding and the knowledge shared in this article are enough to benefit our results with any digital camera. For example, I only use Workspace and Affinity to process my images. Why would anyone prefer unfriendly MFT raw converters over Olympus colors and Workspace?

Olympus E-30 with the Zuiko 50-200mm f2.8 lens. ISO100, f5.6, 1" (Another ambient light example)

It's a rewarding experience to study and discover Olympus and OM System cameras plus Workspace. The histogram is only a tiny example of the creative and supportive features the Olympus engineering team created. For example, the creative color strategy, unique tonal adjustments, computational photography, IBIS, and photographers getting access to the camera's TruePic image processor and Workspace are something unique and special about these MFT cameras.

Here is a list of things we can explain with this knowledge:

- Knowing that the ISO can be a cause of clipping is huge.

- Test the sensor and select the SNR points you are happy to use.

- It is now possible to explain HDR photography with this knowledge.

- The goal with ETTR is to manage and improve sensor saturation and SNR.

- It is now possible to manage the amount of noise in your black & white shots.

- 18% gray exposures and calibrating the WB in WS insure consistent image colors.

- This article reviews a new exposure technique to control the DR in night photography.

- The unique histogram and the Live View functionality of Olympus cameras and Workspace.

E-M5 with the M.Zuiko 12mm f2.0 lens. ISO12800, f9, 1/150. Monotone Picture Mode.

I took the above image with the Olympus E-M5 MKI. I selected the MKI because it has a larger noise floor than newer cameras. The histogram plus Live View confirmed that the sensor received almost no reflected light. It wouldn't surprise me if the exposure level of the sensor were almost at its Absolute Sensitivity Threshold (Fig. 1). Do you think one would see more noise at ISO 24600?

The next image was taken with the E-P7 and the monochrome function. My E-P7 review received more views than any of my other articles. In fact, the daily views tripled when the rumor surfaced that OM System might release an E-P8 in 2026. The monochrome function (Pen F, E-P7, and OM-3) is absolutely brilliant. It's, therefore, frustrating to see social media statements like "My favorite monochrome profile..." I'd rather see people experiment and manage their own monochrome results. The enhanced raw format and Workspace are great options to tweak your monochrome raw files.

E-P7 with the M.Zuiko 12mm f2.0 lens. ISO1000, f4.0, 1/20. Monochrome Picture Mode.

In summary, always plan and apply all 4 exposure variables controlling the camera's 18% gray exposure mix and practice using the histogram to follow the scene luminance exposing the sensor. The image signal flowchart and photons-to-electrons graph are basic tools to help us master key variables like sensor saturation, SNR, and the ISO (image signal amplification). While the ISO is part of the exposure formula, it does not directly control the reflected light to the sensor. Other key elements impacting the digital imaging process are the lens, sensor, TruePic processor, and Workspace.

Should we trust those promoting the idea that physical size is a reliable measure for the efficiency of electronic parts? Should we take advice from those saying the ISO function was designed to adjust the sensor's sensitivity or larger sensors have more image quality, dynamic range, and less noise?

Someone who recently changed to an OM System camera solution made an interesting comment. The person explained that one of the aspects sparking his interest in MFT cameras was the knowledge and general creativity one immediately recognizes in Olympus and OM System communities.

Best

Siegfried

Is the OM-3 a worthy successor to the Pen F...?

Last update:- 23rd February 2026

Introduction.

The Olympus Pen F continues to be a sought-after camera in 2026. While some like to see a Pen F II, it is not always clear what they liked about the first Pen F. It was such a unique camera with so many possible applications that it's only fair to ask what improvements they'd like to see. It's clear that the Pen F inspired OM System to redesign the OM-1 into an OM-3 body with a CP button and the Creative Dial from the Pen F. Would you say computational photography, advanced tonal control, a new sensor and TruePic processor, color and monochrome profiles, and the Color Creator are enough?

An interesting trend is modern photographers wanting something different and unique. Breaking away from a uniform-looking professional or "approved" compact camera, modern photographers prioritize quality and the look and feel of modern digital cameras. Image quality and the ability to personalize your photos in the camera have become key differentiators. Is the social media push for the "perfect" FF camera, perfect image quality, 8K video, and more dynamic range a practicle strategy?

Having used the OM-3 for one year, I haven't regretted one moment of keeping my E-M1 III and adding the OM-3. It has proven to be such an inspiring combination that I decided to sell my Fuji X-T5 in December 2025 and my Pen F in February 2026. Imagine my surprise as some continue questioning the OM-3 pricing or asking for a PEN F II. Let's take a closer look at the OM System OM-3 and why I think it's a welcome upgrade to the older Pen F. It's important to review some basics and the history of the Olympus Pen E-P series to appreciate why I think the OM-3 is a worthy successor to the Pen-F.

The above illustration is a high-level overview of the image signal path from the lens to the SD card. It was designed to highlight only the information that benefits photographers. Most hobby photographers don't know that we manage sensor saturation and SNR (noise) with the aperture and shutter combo or that the ISO amplifies the image signal from the sensor. Without actively using the flowchart, a good understanding of the digital imaging process is enough to improve your photography. The flowchart highlights the roles of the lens, the aperture/shutter combo, the sensor, and the TruePic processor in the image creation process. See my articles for more about OM System and Olympus.

The Olympus Imaging Business always highlighted the significance of the lens, the sensor, the TruePic image processor, firmware, and the advantages of Workspace. It is important to understand why each of these components is equally important in the image creation process. The digital exposure triangle and the image signal flowchart also help us to evaluate Olympus and new OM System cameras. Each new product from OM System (Olympus) is part of a complete photography solution.

We can spend days on the image signal flowchart. Focusing on color, we know the sensor records grayscale image data, and the TruePic image processor turns that data into a color image. For example, it takes the sensor’s grayscale tonal data, combines it with the color information from the RGB filter array, applies the selected white balance, and reconstructs a full color or the Olympus "Kodak image look" through interpolation, tonal rendering, and color mapping. Olympus (OM System) users have access to the TruePic image processor via the creative dial and Workspace.

The cameras that differentiate creative photographers from enthusiasts and pro's.

What do we learn about these cameras when we evaluate the above data with the image signal flowchart?

Let's review the Olympus Pen E-P series, the Pen-F, and the OM-3.

The Pen E-P range is similar to the E-M5 range from Olympus, and the Pen E-PL (light) range is similar to the E-M10 range. Olympus targeted different customer segments with OM-D and PEN cameras. The Pen F and the OM-3 are special with their high-quality metal finishes and their creative and advanced features. The Pen F targeted creative photographers, whereas the E-M5 II and the E-M1 II targeted enthusiast and professional photographers. OM System's product differentiation is not as clear at this stage. The OM-3 seems to replace the Pen F in the OM System lineup, while the OM-1 II and the OM-5 II are excellent enthusiast and professional cameras. If these product patterns and timelines hold, we might see an entry-level OM System E-M10 (IV) or E-P7 and/or an OM-1 III in 2026.

Image quality is one of the most complex subjects to quantify because we do not have an inclusive image quality standard. We know Olympus did not use image quality to differentiate between OMD and Pen cameras. It's also fair to ask if newer cameras have better image quality. While the quick answer is yes, I will not hesitate to use older cameras in 2026. The image quality of modern cameras improves as a result of higher-efficiency sensors and more advanced image processors.

Olympus E-P2 with the original M.Zuiko 14-42mm f3.5-f5.6 lens. I converted the raw file in Workspace.

Having used all the cameras in the Pen E-P series, it was easy to select some raw files from my image collection. I never thought Workspace would become my primary raw converter. The similarities when converting these RAW files with Workspace are worth mentioning, especially knowing that I haven't used some of these cameras in a while. My connection to these cameras is therefore the RAW file. I would be happy using any of these Pen cameras, ranging from the E-P3 to the OM-3, in 2026.

The press releases of the above cameras are an excellent source of information. I also use AI to search for specific information. It is, however, important to ask AI services like ChatGPT to avoid information from sources that repeat the commercial "bigger is better" or "size and capture" theory. That explains why it's such a joy to rediscover the evolution of M43 cameras through Olympus press releases. They offer a great window into R&D priorities, strategic developments, and new features.

OM System OM-3. I used my 1st versions of the Rönntoft color profile. You can extract the profile from the image in Workspace...

The best way to rediscover Olympus cameras is to avoid forums and camera reviews. Each of these cameras was a masterpiece and special in its own way. It's interesting how difficult it has become to find some of them secondhand. Download the press releases from Olympus and study them. Those of you who like to know what it means to focus on all aspects of digital photography should have one of these PEN EP cameras to rediscover Olympus and their unique "sum of parts" strategy.

The Olympus Pen E-P3 from 2011

The Pen E-P3 was the final 13MP Olympus camera, ranging from DSLRs to MFT cameras. The Pen E-P1 and E-P2 were the first MFT cameras from Olympus and were associated with quality and vivid image colors. They were, however, not as responsive as their DSLR counterparts, the E-30 and the E-620. The sensor's noise floor was also larger on older 13MP (FT) sensors. The EP-3 is a special camera with its new 13 MP sensor and TruePic VI image processor. It is not only more responsive but also elevated the Olympus PEN EP series as a more premium range of mirrorless cameras.

A brief summary from the Olympus PEN E-P3 press release:

• The E-P3 was the first M43 camera with a TruePic VI image processor.
• The Pen E-P3 also received a new and faster 13MP Live MOS sensor.
• The E-P3 has a beautiful metal body with a 3-inch OLED touch display.
• Higher processing speeds from the new sensor and Truepic combination.
• The TruePic VI has faster processing times plus better image processing.
• The FAST AF system is 2X faster (120 fps) than previous 13 MP sensors.
• The E-P3 has several ART filter, Live Guide, and video improvements.
• The E-P3 has a more advanced Shadow Adjust (ASAT) and tonal options.
• The E-P3 has more advanced detail processing and real color technology.
• The E-P3 user interface and menu system were completely redesigned.

There are more interesting improvements to the Olympus Pen E-P3. I highly recommend you study the E-P3 press release. The OM-D E-M1, E-M5, and Pen E-P3 were part of the Olympus offer from 2011 to 2013, and the E-P3 was a benchmark that set the stage for the future of Olympus cameras.

Olympus Pen E-P3 with the M.Zuiko 12-50mm EZ f3.5-6.3 lens. I converted the Enhanced Raw File in Workspace.

The Olympus PEN E-P3 is indeed a special camera. While the newer E-M5 was a huge development and one of the most exciting M43 milestones, I will never forget how much I enjoyed photographing with the E-P3 before selling it in 2014. I was fortunate to find another one in good condition in 2024. While disappointing, I continued using my E-P3 when the IBIS unit stopped working in 2025.

Olympus E-PL3 (same sensor and Truepic VI processor as the E-P3)

It would be easy to recommend the E-P3 as a must-have option for Olympus enthusiasts if it weren't for this known IBIS issue. The E-P3 was such a unique camera that I would consider a factory repair if it weren't for newer and even more exciting M43 cameras from Olympus. Interestingly, the E-PL3 and the E-PM1 have the same sensor and TruePic VI combo as the E-P3. The official Olympus policy was to offer the same image quality for all their camera models. See the E-PL3 press release.

Olympus E-P3 with the M.Zuiko 12mm f2.0 lens. Raw file converted in Workspace.

E-P3 with the 12mm f2 lens. Raw file converted in Workspace

Olympus E-P3 with the M.Zuiko 12mm f2.0 lens. Raw file converted in Workspace.

E-P3 with the 12mm f2 lens. Raw file converted in Workspace.

Olympus E-P3 with the M.Zuiko 12mm f2.0 lens. Raw file converted in Workspace.

The Olympus Pen E-P5 from 2013

Olympus launched the PEN E-P5 during one of the most exciting times for M43 cameras. The E-M5 was introduced in 2012 with a new 16 MP sensor, the TruePic VI processor, and 35 AF points. The E-M1 came in 2013 with an excellent sensor, the TruePic VII processor, 81 AF points, and a combination of phase-detect and contrast-detect autofocusing. The E-M1 and the E-P5 were the first M43 cameras with a maximum shutter speed of 1/8000th. The first E-M10 followed in 2014, and the E-M5 II in 2015. Fuji and Sony introduced their first mirrorless cameras in 2013, while Canon and Nikon promoted the idea that DSLRs and optical viewfinders are the future for professional photography.

A brief summary from the Olympus PEN E-P5 press release:

• The E-P5 was launched in 2013 as a flagship model in the PEN series.
• Olympus introduced the E-P5 in the fifth year of digital PEN cameras.
• The E-P5 was the last M43 camera with a TruePic VI image processor.
• The Pen E-P5 also received a new and faster 16MP Live MOS sensor.
• The Pen E-P5 continued the PEN "premium quality portable" concept.
• Premium features included dual controls and a 1M-dot tilt-type display.
• The E-P5 offered new Wi-Fi, mobile app features, and remote controls.
• The 16 MP sensor and Truepic VI combo had higher processing speeds.
• The TruePic VI delivered excellent results with the E-P3 and the E-M5.
• The E-P5 had several ART filter, Live Guide, and video enhancements.
• The E-P5 had more advanced Shadow Adjust (ASAT) and tonal controls.
• The E-P5 benefited from the image quality improvements of the E-M5.
• The E-P5 also benefited from the AF improvements found in the E-M5.

The PEN E-P5 was a popular and interesting camera for Olympus enthusiasts. Technically the E-P3 was more exciting, whereas esthetically and functionally the E-P5 became the more sought-after option. The E-P5 continued to shape the future of premium mirrorless cameras and the leadership role of Olympus in designing advanced computational and creative features for mirrorless cameras. It offered several new features, like the more advanced 5-axis stabilization version introduced by the E-M5, Live TIME, and new tonal controls perfected in modern Olympus and OM System cameras. 

See the E-P3, E-M5, and E-P5 press releases.

Olympus E-P5 with the 14-52mm f3.5-5.6 EZ lens. Raw file converted in Workspace.

Olympus E-P5 with the 14-52mm f3.5-5.6 EZ lens. Raw file converted in Workspace.

Olympus E-P5 with the 14-52mm f3.5-5.6 EZ lens. Raw file converted in Workspace.

Olympus E-P5 with the 14-52mm f3.5-5.6 EZ lens. Raw file converted in Workspace.

The Olympus Pen F from 2016

The Pen F was the first Olympus MFT camera to introduce a 20MP Live MOS sensor. It was also the first camera with a full commercial version of the creative color strategy. Workspace, the E-P7, and the OM-3 share that same creative functionality. Similar to the 40MP high-resolution mode of the E-M5 II, the Pen F received a new 50MP version. As people get better at questioning social media comments about the high-resolution mode, they also learn about the efficiency gains of using 20MP sensors with an optional high-resolution mode. DxOMark offers the most reliable test data because they define "good" versus "acceptable" image quality. The high-resolution gains are so effective that they would need a separate lab test to quantify the acceptable versus good image quality gains.

Like with the E-M1X, competitors understood the advantages photographers had with cameras like the E-P3, the E-M1, and the Pen F. The countermarketing campaign that followed included astroturfing, repetition, scandals, betrayal, book deals, and intensifying the "bigger is better" or "size and capture" commercial program. Counter-marketing campaigns like these typically reach a crescendo with new MFT products, like the E-M1X, the Pen F, the EM5 II/III, the OM-1, or the OM-3.

A brief summary from the Olympus PEN F press release:

• The Pen F was introduced as an Olympus rangefinder-style camera in 2016.
• The new 20MP Live MOS sensor has several benefits - see the press release.
• The Pen F has the same TruePic VII processor as the E-M1 and the E-M5 II.
• The TruePic VII processor and the 20MP Live MOS sensor have:
• Improved decolorization that occurs at higher ISO values.
• Improved the camera's response times and AF speeds.
• The better Fine Detail II image processing technology.
• Moire-removing processing with no low-pass filter.
• Improved lens, sensor, and processing integration.
• A new 5-axis sync IS technology with up to 5 EV IBIS.
• 2.36 million dot OLED EVF with an OVF simulation option.
• Monochrome and color profile control (Creative Dial).
• Much improved tonal control and Enhanced Raw Format.
• See the Pen F, E-M1, and E-M5 II press releases for more.

The two features that stood out from the speed and efficiency improvements of the new 20 MP sensor and TruePic VII combo were the new color and monochrome functions. While the industry standard is global color adjustments, the Pen F was the first mirrorless camera to target and control individual colors. What made this functionality more unique were Workspace and the Enhanced Raw Format. The Pen F was also the first camera that gave us access to the image and color creation processes of the TruePic processor and Workspace. It always surprises me how few Olympus and OM System users know about and appreciate the creative freedom they enjoy with these cameras...

Pen F with the 17mm f1.8 lens. Raw, Workspace, and Grainy Film II ART filter.

Olympus Pen F with a Lensbaby lens. I converted the raw file in Workspace.

Pen F with the 17mm f1.8 lens. I converted the raw file in Workspace.

Pen F with the 25mm f1.8 lens. Raw edited in Workspace. (Monochrome Profile)

Pen F with the M.Zuiko 12-50mm EZ lens. I used an external ND filter.

Pen F with the 17mm f1.8. Raw, Workspace, and Monochrome.

Pen F with the M.Zuiko 12-50mm EZ lens. I converted the raw file in Workspace.

The Olympus Pen E-P7 from 2021 is a keeper...

The PEN E-P7 is one of the most exciting cameras in the PEN EP range. Experienced photographers get a fast and highly capable creative beast, while casual photographers are eased into the art of creative photography with Olympus or OM System. What makes this such a unique camera is the 20MP Live MOS sensor and a faster (3.5X) TruePic VIII image processor. The user-friendly user interface (UI) and menu of the E-P7 are brilliant. The Advanced Photo (AP) menu (CP button on the OM-3) plus the available shooting mode options make the E-P7 a perfect camera for those creative photographers who like to tweak their camera settings in the camera (E-P7, Pen F, and OM-3) or Workspace.

The E-P7 makes it easy to visualize the Olympus R&D and marketing teams concluding, "We don't need more," while finalizing the user interface and menu of the Pen E-P7. They understood exactly what the creative photographer wanted while designing a perfect everyday camera. The Olympus E-P7 will continue to be one of the most popular and human-centric creative tools in the future.

I always thought it was better to practice your creative color skills than to rely on other people's color profiles. It's that final 5% touch of tweaking the color, monochrome, or tonal curve that makes the difference between a masterpiece or just another AI-style creation. The Pen E-P7 offers that perfect balance that is necessary to enable the experienced and creative photographer.

The monochrome profile function of the Pen F, the E-P7, and the OM-3 is different from anything else I have seen. For example, the standard monochrome picture mode and the color filters in Workspace are different from the monochrome profile function. The more I practice and familiarize myself with these Color and Monochrome profile functions, the more I use them while photographing.

One of my favorite options of the TruePic VIII & IX processors is the cluster autofocusing function. For example, the cluster AF function does a good job of selecting the right focus points while optimizing the depth of field benefit of M43 cameras. The Olympus Super Control Panel (SCP) also simplifies the selection of different focusing options, such as cluster or single autofocussing points.

See this article about the Olympus Pen E-P7.

Pen E-P7 with the M.Zuiko 17mm f2.8 lens. I converted the raw file with Workspace.

Olympus E-P7 with the 17mm f2.8 lens. Raw converted in Workspace.

E-P7 with the 17mm f2.8 lens. Raw converted in Workspace. (Vintage 1 ART filter)

E-P7 with the 17mm f2.8 lens. Raw, Workspace, Monochrome.

E-P7 with the 17mm f2.8 lens. Raw, Workspace, Monochrome.

Pen E-P7 with the M.Zuiko 9-18mm f4-5.6 lens. I converted the raw file in Workspace.

Pen E-P7 with the M.Zuiko 17mm f2.8 lens. Raw, Workspace, and Vivid Picture Mode.

The OM System OM-3 from 2025

The best way to get to know someone is to spend time with them. The same applies to manufacturers like Olympus and OM System. The worst thing one could do is listen to random opinions. These basics taught me a lot while studying publicly available information like annual financial reports and press releases from companies like Olympus, OM System, Panasonic, and the full-frame collective. I have spent hours over the past 7 years getting to know Olympus, OM System, and digital cameras.

The common theme in Olympus press releases is highlighting the roles of the lens, the sensor, and the TruePic processor. See the following edited quotes from the E-M1 press release: "The combination of the newly developed TruePic VII processor and the new 16MP Live MOS sensor produces better image quality with less noise at higher ISOs" or "Focusing on the 3 main elements of image quality (the lens, imaging sensor, and image processor), the absolute best possible image quality is available with the new Olympus OM-D E-M1." These basic principles are very different from the social media opinion that FF sensors are better because the sensor is ultimately responsible for image quality.

The question of whether the OM System OM-3 is a worthy successor to the Pen F becomes clear when we evaluate the OM-3 with these basic principles. It is an exercise each photographer should try because the information in press releases is so much that I wouldn't know what to highlight for your specific needs. I listed a few points you could use while reading press releases:

• The image signal flow diagram was designed to clarify these basic principles.
• I think it was a brilliant decision to place the OM-1 II in the new OM-3 body.
• The new Stacked 20MP BSI sensor was a major upgrade to the Pen F sensor.
• The TruePic X is more than 8X faster and more powerful than the TruePic VII.
• We have an excellent selection of high-quality M.Zuiko lenses for the OM-3.
• I highly recommend NOT to use Lumix lenses for critical OM-3 applications.
• Like the Pen F, the OM-3 is a lovely camera, plus it has good weather sealing.
• The best OM-3 press release is the one used with the Olympus OM-1 launch.

Tip: The TruePic VIII was 3.5X faster than the VII, and the TruePic X is 3X faster than the IX. 

The original OM-1 press release as a reference for the OM-3.

I compared the viewfinder in the OM-3 to other Olympus cameras with LCD and OLED viewfinders, like the E-M5 I/II, the E-M10 II, the E-M5 III, the OM-5, and the E-M1 III. I couldn't find much to criticize about the OM-3's viewfinder. In fact, I prefer the clear and bright look of the OM-3 viewfinder. Could it be that OM System used better optical elements? I also compared the OM-3 to the X-T5 and couldn't find any reason, like the higher resolution EVF or more megapixels, to convert to Fuji.

The more social media experts insist, "We need more megapixels," the more I distrust them. Apart from the advantages we enjoy with 20 MP sensors, we also benefit from existing M.Zuiko lenses being perfect for OM System cameras. It is not the case for those upgrading to Fuji's 40 MP cameras like the X-T5. For example, I saw the same holistic image quality improvements from my OM-3 as I do with my E-M1 III. These IQ improvements are even more visible with professionally rated lenses like the 20mm f4 pro. Modern TruePic image processors also make a huge difference when photographing with up to 15-year-old Olympus cameras. The faster and more powerful CPUs in the TruePic IX & X transformed the E-M1 III and OM System cameras. A good example is more responsive computational features and processing cycles of the high-resolution modes or the new OM-3 handheld assist function.

What about autofocusing? Beware of those claiming this brand or camera's AF is better. Technically, the OM-3's autofocusing technology is more advanced than any camera I used. That said, I prefer the focusing functionality of the E-P7, the E-M10 VI, the E-M5 III, and the E-M1 III. It all depends on what kind of photography we do and how much experience we have with a specific brand.

It's disappointing to receive an OM-3 press release like this from OM System. 

Here you will find all the product press releases from OM System.

See this new OM-3 application video from Rania Rönntoft.

My other OM-3 articles. (link1 and link2 and link3)

OM-3 with Lumix 45-175mm f4-f5.6 lens. Raw converted with Workspace.

OM-3 + M.Zuiko 17mm f1.8 lens. Raw converted with Workspace.

OM-3 + Lumix 45-175mm lens. Raw converted with Workspace.

OM System OM-3 with the Rönntoft color profile. 

OM-3 + Lumix 45-175mm lens. Raw converted with Workspace.

OM-3 with the Lumix 45-175mm lens. Raw, Workspace, and ART Filter.

Taken with the OM-3. My version of the Rönntoft color profile.

OM-3 + M.Zuiko 17mm f1.8 lens. Raw, Workspace, Monochrome.

OM-3 + M.Zuiko 17mm f1.8 lens. Raw, Workspace, and ART Filter.

Conclusion.

I would have been happy using only Pen EP cameras if I were as comfortable with digital cameras and modern marketing as I am today. The Pen EP series is perfect for the creative photography enthusiast. Think of the Pen EP range as everyday memory makers. They are perfect for day-to-day photography, with their creative and unique M43 features and lenses capturing excellent results.

Preparing the images for this article was so much fun. I think it's a combination of going back in time and the natural conversion and editing results I get with Workspace and Affinity Photo. It took a while to familiarize myself with Affinity Photo 2, but today I don't even think about Adobe Photoshop when converting and editing my Olympus raw files in Workspace or Affinity Photo.

Best

Siegfried

With Workspace we have color and monochrome profiles for the OM System OM-5 (E-M1 III). This is one of the best cameras ever.