Last update: 12th July 2026 - I added new information and a video...
Should we trust social media influencers repeating full-frame sales lines while reviewing Olympus and OM System cameras? Why do they always say "FF cameras capture more light?" Shouldn't we reject any form of light not included in the exposure formula? Why would full-frame advocates reject the idea of using the exposure mix to saturate the sensor? Isn't the sensor's operating efficiency a function of the exposure mix, or did "capture more light" replace techniques like ETTR (saturating the sensor)? Folks, guess what camera and lens I used for the included photos as we discuss full-frame sales lines.
Have you ever wondered why Olympus sold a promising imaging business?
PS. Also, ask why?...if you didn't know it's possible to manage your sensor's efficiency.
The lovely town of Meersburg at Bodensee. This is a handheld image with an aperture of f6.3 and no focus stacking.
The included photos reflect the "digital" MFT sensor from Olympus and the TruePic imaging process embedded in Workspace. I converted and edited the included images in OM Workspace. The TruePic image processor and Workspace let us verify and adjust our camera settings with our PCs.
Which camera and lens did I use?
Hint:- Consider only MFT lenses receiving predominantly negative feedback on social media. Did you notice how social media influencers recommend larger pro lenses like the M.Zuiko 12-100mm f4 for travel photography? Why not something like the 12-45mm f4 and 40-150mm f4 Pro combo?
I love the 4/3rds aspect ratio. I used it for both the landscape and portrait versions...
Considering that Olympus sold the imaging business to OM System (JIP) in January 2021, why would FF advocates deem it necessary to continue pushing the "capture more light" line in 2026? One of the reasons marketers introduced the "bigger is better" line was the physical size of full-frame DSLRs and lenses. Competitors needed a commercial answer for the success Olympus had with their innovative designs and the size and weight benefit of the E-M5 and E-M1 from 2013. The reason for continuing the "capture more light" campaign in 2026 could be as simple as the commercial success of the OM-1 and OM-3, customer segmentation, and targeted applications for the OM-1, OM-3, and OM-5. We could also say that the 2-stop MFT advantage played a critical role in this growing segment.
I love the consistent image quality and Olympus (Kodak) colors I get from this lens and Workspace combo.
The capture-more-light theory is critical to FF advocates because it supports the premise of less noise and more dynamic range, which are theoretically linked to the sensor's designed saturation level. The exposure formula has 4 exposure variables (shutter speed, aperture, ISO, and avg. scene luminance). Three of them directly control the light reaching the sensor. That's why we saturate sensors with the exposure mix. The capture-more-light campaign suggests that sensor size and pixels capture photons, which explains saturating FF sensors with the capture-more-light effect. The theoretical link between noise and dynamic range is reflected light exposing or saturating the sensor. A subtle difference but critical because "capture more light" is not listed as a variable in the exposure formula.
PS. Experienced photographers manage the sensor's efficiency (dynamic range and image noise) with the exposure mix...
Full-frame sales lines include a shallower depth-of-field (DOF) and the premise of full-frame cameras offering less noise with more dynamic range. Depth of field is an optical characteristic linked to the sensor's image circle, whereas noise and dynamic range are 2 of many technical characteristics linked to the sensor's design criteria, manufacturing, and the materials used to manufacture sensors. Think of gold-plated connectors in high-end sound systems versus more cost-effective options.
Instead of exploring digital photography, marketers doubled down on "bigger is better" with programs like astroturfing and repetition. As the MFT focal length (reach) and DOF advantage became a reality, a shallow DOF surfaced for portrait and wildlife photos. The "capture more light" affect emulates a saturated sensor with more dynamic range and less noise. Why not accept basic digital photography principles like having an exposure formula and the exposure mix to saturate the sensor?
PS. It is best to view the photos in this article on a large display like the iMac 27"
We have tremendous control with the Monochrome profile function of the Pen F, EP-7, OM-3, and Workspace.
There would have been no need for this article if it weren't for the constant "bigger is better" noise on MFT photography forums and YouTubers reviewing and discussing Olympus and OM System cameras. All photographers will benefit from more appropriate information about digital cameras.
I used different picture modes and iEnhance options for my Workspace raw conversions for this article...
I used exposure, iEnhanced options, and tonal controls to "develop" some of these photos...
How do I research marketing trends and the Olympus and OM System digital imaging process? I have an engineering and marketing background, which helps to follow marketing trends and technical points relevant to digital photography. I used to share my thoughts on photography forums. Today I use AI to research technical information and to follow marketing trends. I focus on basic engineering principles as I study and explain digital cameras and the Olympus imaging process. I believe every photographer benefits from more advanced digital photography principles and accurate information.
I love the amazing 3D look of this M.Zuiko lens. Something special about Olympus M.Zuiko lenses...
Folks, my goal was not to convince you that one format is superior. It's to encourage you to evaluate them as excellent imaging systems consisting of cameras, lenses, and digital imaging processes. Judge them by your joy and enthusiasm for a specific system and the photography and photos they inspire. We can do so much more with digital cameras than relying on the sensor for everything...
See this article for more on image noise and dynamic range.
See this inspirational wildlife video from Emily...
PS. I used the OM-5 with the pocket sized 9-18mm f4-5.6 M.Zuiko lens with its excellent color, detail, and 3D looking photos...
My thoughts wandered to the E-3 from Olympus while preparing a reference guide for my Kodak film simulations. Being from South Africa, I have a close connection to typical African colors. For example, I make an effort to visit the places that shaped my color awareness when I am with family and friends in South Africa. My childhood experience with Africa's nature and wildlife reserves, combined with the refined "Kodak" image processing of the E-3, shaped my digital color preferences. Do you experience a similar connection to the colors found in the country or region you call home? For instance, I always associate Switzerland with snow, flowers, happy colors, and deep blue skies. That said, I'm aware that the E-3 has a Live MOS sensor and not the "Kodak" CCD sensor of cameras like the E-500.
The Olympus E-3 with the Zuiko 50-200 mm f/2.8-3.5 lens. I converted the RAW+ file in Workspace.
I recall experiencing exposure problems when I first took the E-3 to South Africa. I couldn't find the reason and filed the incident as unsolved. It felt strange to discover the cause so many years later in Workspace. Olympus introduced the gradation AUTO option with the E-3. It seems like I used the new option without resetting it. Having owned several versions of Photoshop Elements, I couldn't verify my camera settings as we do with the RAW+ format and Workspace. Everything changed when I set the gradation to "normal" 15 years later. See the portrait, wildlife, and Monaco samples below.
Subsequently, I converted more RAW files from other Olympus DSLRs. In most cases, the results were noteworthy after changing settings like picture mode, sharpness, noise filter, color space, and gamma adjustments like curves & gradation. I also discovered several exposure-related mistakes I made in the past. Imagine tweaking and updating your camera settings 15+ years later.
PS. The TruePic processor and image processing became one of Olympus' most critical technologies...
The posted photos are from the Olympus E-3, the 50-200 mm f/2.8-3.5, the 14-54 mm f/2.8-3.5, and the 25 mm f/2.8 lenses. My RAW+ files from 2009/10 were converted and edited in Workspace. My E3 image look and my Kodak guide represent my color preferences. For instance, I adjusted the exposure and tonal values and left the colors as is for the images I posted. I'd like to invite you to practice your color awareness as you do with framing your scenes. Lean on familiar colors as you develop your color preferences. For example, would you add cyan to blue skies, desaturate the greens, or do any specific color changes? I think we will spend more time on color specifics in 2026.
PS. Some of my Monaco photos were taken with the Zuiko 70-300 mm f/4.5-5.6 lens.
E-3 with the Zuiko 50-200 mm f/2.8-3.5 lens. RAW+ converted & edited in Workspace.
Olympus cameras and Workspace never stopped surprising me. I like to keep my photography simple, which is what Olympus did with their cameras and Workspace. It's a process of basic photography and image editing principles, which enable us to have great results with 10MP or 20MP cameras. Imagine the possibilities when we add experience to the mix. What would your advice be if you could highlight one aspect of digital photography? My advice would be to step away from social media influencers and free your digital photography experience from unnecessary advertising and repetition. Imagine having only one camera like the Olympus E-3, E-500, or E-30 with Zuiko lenses and Workspace...
Olympus E-500 with the Zuiko 18-180mm f/3.5-6.3 lens. ISO100, f/6.3, 1/250. RAW+ converted/edited in Workspace.
Folks, consider having cameras like the E-3 or E-500 in 2010 and editing your camera settings in 2026. The strategic future of the Olympus partnership with Kodak and cameras like the OM-3 becomes clear with the tonal and color controls we see from products like the OM-3 and Workspace. The OM-3 is not just another camera; it looks more like the ultimate image plus Kodak color solution.
PS: The images in this article are best viewed on a large PC display such as the iMac 27"
Something special about the colors in these images...
Monaco - here are a few more Olympus E-3 photos
I am more comfortable photographing in the southern parts of Europe.
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