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).