Do you trust the commercial claims from social media influencers when they are discussing OM System and Olympus MFT cameras? Why is it so critical for FF advocates to sell the idea that we capture more light with full-frame sensors? How does the exposure formula accommodate this magical full-frame light? Shouldn't we reject the "more light theory" if it's not included in the exposure formula, or did FF sensors suddenly need magical FF light to process high-quality images? Why would FF advocates reject the idea of managing the sensor's performance with more light? Isn't the sensor's efficiency a function of the exposure mix, or did sensor size change the exposure mix to sensor efficiency ratio? Let's take a look at what camera and lens combo I used while reviewing these crazy FF claims.
Why did Olympus sell an innovative and promising imaging business?
PS. Folks, ask why?...if you didn't know it's possible to manage your sensor's performance.
The lovely town, Meersburg am Bodensee. This is a handheld image with an aperture of f6.3 and no focus stacking.
The photos in this article show the benefits of the MFT digital sensor format and the TruePic imaging process. I converted and prepared these images in OM Workspace. Imagine using your camera's TruePic imaging processor to verify and adjust your camera settings on your PC in Workspace.
Which camera and lens did I use?
Hint:- Consider MFT lenses receiving negative feedback on social media. Why would some reject these lenses? Start by listing those MFT lenses receiving most of the negative feedback...
PS. You will discover great M.Zuiko lenses ss you learn to walk away from the noise on social media...
I used the 4/3rds aspect ratio for both the landscape and portrait versions...
Why did FF advocates continue to promote sensor size, or the more light theory, in 2026? One of the reasons marketers created the "bigger is better" theory was the physical size of full-frame DSLRs and lenses. They desperately needed a competitive counter for the commercial success Olympus had with the size/weight benefit of MFT cameras and the innovative OM-D E-M5 and E-M1 of 2012/13.
Typical FF sales lines include a shallower depth-of-field (DOF) and the promise 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 design criteria, manufacturing, and the materials used to manufacture sensors.
Instead of focusing on more accurate information, marketers doubled down on "bigger is better" with questionable programs such as astroturfing and repetition. For example, they decided to promote portrait photography with a shallow DOF when they saw the benefits of a deeper DOF with MFT. The "capture more light" theory was created to explain lower noise and more dynamic range. It would have been so much better to simply explain ETTR with the photons-to-electrons graph.
There would have been no need for an article like this if it weren't for the constant "bigger is better" noise coming from photography forums and YouTube influencers reviewing Olympus or OM System cameras. All photographers will benefit from reliable information about digital cameras.
PS. Study the photons to electrons graph for more on sensor saturation (dynamic range) and SNR (noise).
I used different picture modes and iEnhance options for my Workspace raw conversions in 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 can master basic digital photography principles with correct and accurate information.
See this article and this article for more on image noise and dynamic range.
PS. I used the OM System OM-5 with the amazing and tiny Olympus M.Zuiko 9-18mm f4-5.6 lens.
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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