Having fun with the original Olympus EM1

Last Update:- 12th June 2025

Given social media statements and a general focus on sensor size, one would question my enthusiasm for an M43 camera released in 2013. The Olympus E-M1, which remains a remarkable camera in 2025, highlights this distinction. While preparing this article, the E-M1 reminded me why Olympus cameras became so popular. By adopting a philosophy that diverged from the trend of prioritizing the sensor, Olympus acknowledged that all sensors are subject to optical and technical limitations. This mindset empowered the Olympus engineers to develop more innovative solutions to effectively address and leverage these inherent sensor limitations and qualities (strengths and weaknesses).

This article reviews these technical versus optical limitations.

Image noise amplifies the significance of acknowledging the distinction between the sensor's optical and technical attributes. Social media experts often advocate for FF cameras as a quick remedy for noise. Olympus opted to create more efficient solutions because they recognized that all sensors have a noise floor. For example, I rarely need third-party AI noise filters for my Olympus RAW files because knowledge combined with the standard and AI noise filters from Olympus are good enough.

I converted the enhanced raw file in Workspace. The E-M1 has excellent IQ with a natural balance between an analog feel, color, and detail.

In-body image stabilization (IBIS) illustrates how Olympus became a market leader in navigating the technical challenges associated with image sensors. For instance, photographers can achieve up to a 2-stop noise improvement with IBIS and the depth-of-field advantage of M43 cameras. This simply means upping the sensor's saturation and a higher signal-to-noise ratio (SNR). Computational features offer similar benefits. Old-school options, like a tripod let us position the camera more accurately, control camera movement (zoom lenses), and/or increase the reflected light to the sensor.

These basics help us when photographing with cameras like the E-M1, because the E-M1 sensor does have a larger noise floor with more visible noise at lower SNRs when compared to the sensors in the OM-1 and E-M1 III. I used the camera's "Low" Noise Filter for all the photos in this article.

The OM System OM-3 with the M.Zuiko 40-150mm f4-5.6 lens.

This article merely touches on the creative potential photographers enjoy with an Olympus E-M1. It is remarkable that a small M43 camera from 2013 delivers such beautiful photos at current used rates. Notably, many may not know that the Olympus E-M1 received its final firmware update in 2019 and already offered computational features in 2013. I will outline some features that could enhance your macro photography, as well as the photography styles showcased in this article.

The following features are unique to the Olympus E-M1:

• Top-down EVF option - this is unique to Olympus M43 cameras with an accessory port.
• The macro arm LEDs (MAL-1) is unique to Olympus cameras with an accessory port.
• The Photo Story feature of the Olympus E-M1. See the final two photo examples.

Features common to most Olympus M43 cameras:

• ART filters (Several examples were done with ART filters)
• Color Creator (I used the Color Creator with some images)
• 2X Digital Zoom at full resolution
• Color profiles (Adjust color function)
• Black and White or Monochrome options
• Focus Stacking with the E-M1, Photoshop, or Workspace
• LIVE Composite (Painting with light)
• LIVE Time
• Flash remote control (RC)
• Live View Boost
• S-OVF
• Exposure Shift
• Selective AE and AF options
• 2 second timer
• Video

Olympus designed Workspace and the enhanced RAW format as unique enablers for Olympus M43 photographers. They encourage more image and creative control by letting photographers tweak their camera settings when converting Olympus RAW files or editing JPEGs on personal computers. Older M43 cameras like the Olympus E-M1 and E-M5 II share a unique advantage when shifting from a sensor size focus to a more hands-on or practical approach to digital photography.

The original Olympus E-M1 does have a quality concern. Early production runs of the E-M1 had issues with the control dials, leading to failures. In response, Olympus issued a formal notification and provided complimentary replacements for the affected dials. Unfortunately, not all E-M1 owners took advantage of this repair offer. Therefore, it is advisable to verify the status of any used E-M1 dials before purchasing. Additionally, updating the firmware is recommended, as it unlocks more features and functionality. See this article for more on firmware updates.

What is the most important lesson we learn from photographing with the E-M1? Older cameras like the E-P3 or the E-M1 reveal that the notion of achieving perfect image quality is a myth. For instance, when using the E-M1, technical aspects such as dynamic range, noise, and image quality often took a backseat in the creative process. Instead, I found joy in leveraging the E-M1's technical limitations to better express my artistic vision. This approach invites contemplation on the creative possibilities that can emerge when we adopt a similar mindset across all types of cameras.

Ricoh introduced the 10MP GR Digital II in 2007

Last Updates: 7th August 2025 (New color profile)

Imagine having an invitation to a fun photo walk with older digital cameras. While reviewing feedback from relevant reviewers and forum conversations, what would your expectations be for an 18-year-old compact camera? For example, would you say images captured with the 10MP Ricoh GR could still be relevant in 2025? Some of the Ricoh images (JPEGS) in this article were slightly edited in Photoshop, and some are RAW files converted with Adobe Camera Raw (ACR). Is it possible that the older Ricoh GR Digital II could surprise many as an exciting and flexible performer in 2025?

The following compact cameras would be great for an oldies photo walk:

- Olympus XZ-1 (10MP)

- Pentax QS (10MP)

- Canon Powershot G11 (10MP)

- Panasonic LX-7 (10MP)

- Sigma DP2S (14MP)

- Olympus E-400 (10MP)

- Olympus E-PL9 (16MP)

TIP: See this article for more information about the technique I use to capture the image below.

GR Digital II JPEG @ ISO100, f4.0, and 1/1050. The lighting was perfect, and the Richoh seems to have a unique gamma (tone) curve.

The Ricoh GR Digital II is an exciting camera that stood out in the 10MP camera category. The listed compacts in this article had larger and more expensive sensors. Apart from the Pentax QS having a BSI sensor, the XZ-1 and G11 have CCD sensors, and the LX-7 has a CMOS sensor. It is often suggested that older CCD sensors produce more vibrant Kodak like colors. However, I contend that it's largely due to manufacturers’ choosing an analog look rather than pre-empting a modern digital photography look for 2007. This is evident in the unique Kodak look images produced by the Ricoh GR.

The Olympus E-400 and Sigma DP2S differ in their design and features. The Sigma DP2S is renowned for its unique 14MP Foveon X3 sensor, delivering great color and detail. In contrast, the E-400 features a 4/3 CCD sensor, while the DP2S has a APS-C sensor. Notably, earlier Olympus E-Series DSLRs were recognized for their use of CCD type Kodak sensors; however, the E-400 literature does not explicitly reference the Kodak CCD sensor. Personally, I favor the Olympus E-450, with its 10MP CMOS sensor, as it's quick and delivers a similar Kodak color palette as older CCD models.

I converted the Ricoh GR Digital II raw files in Photoshop with the Adobe Raw Converter (ACR).

Will I use the Ricoh GR Digital II in 2025? The Ricoh is a notably refined and agile camera, with great image colors. Although I would recommend it to others, I do not plan to use it much in 2025. I lean more towards the Olympus XZ-1/2 or the Stylus S1. Additionally, I love to create a color profile that would mimic the "Kodak" look of the Ricoh GR Digital II for my Olympus cameras.

Olympus E-M10 IV with the amazing M.Zuiko 75mm, f1.8 lens. I converted these Enhanced Raw Files in Workspace.

Large camera manufacturers seem to have lost sight of casual and hobby photographers. It has been suggested that the emergence of mobile phone photos contributed to an upswing in overly specified camera models, particularly as the quest for extravagant video specifications, higher resolution, and larger sensors was not a grassroots requirement but rather a marketing strategy. 

Grassroots-friendly cameras such as the E-PL9, E-P7, and E-M10 II/III/IV continue to offer exceptional value when paired with the M.Zuiko 75mm f1.8, 12mm f2.0, 17mm f1.8, 25mm f1.8, and 12-45mm f4.0 lenses. Any used E-M5 III, E-M10 IV, E-P7, or E-PL9 with two of these lenses outperforms mobile phones in terms of having fun doing photography, creativity, versatility, life cycle, and value. Will AI processing widen the gap between mobile phones and older compact and M43 cameras?

The beta version of my Ricoh GR color profile shows great potential. My initial impression is that this profile exhibits a more refined and nuanced image look compared to some of my older profiles. Its application is also different from my existing color profiles. For example, I incorporated features unique to Olympus for this new color profile. My intention was to ensure compatibility for all Olympus cameras. Consequently, the process of applying the new color profile requires converting an enhanced raw file in Workspace and saving it as a 16-bit TIFF file. The Ricoh GR color profile is designed for converted Olympus TIFF files. This method represents a distinct editing approach, offering numerous advantages in the realm of "layered" processing with Workspace.

See this link for more information about the new Ricoh GR profile.

Ricoh GR Digital II color profile with Soft Focus ART filter.

A collection of Ricoh GR Digital II photos

I did not use the Ricoh GR Digital II noise filter for the images in this article. Those using crop sensor Fuji, Olympus, and compact cameras have grown to accept a little film-like noise. What drives this sentiment for "small" sensor photography? It could be that those buying crop sensor cameras came to terms with the technical limitations of the sensor. This might also shed some light on why full-frame photographers jump at every AI noise reduction offer from DxO, Topaz, and Adobe AI. How many of them were told that full-frame cameras have no technical limitations like dynamic range and noise? It is regrettable to have such inaccurate marketing information at the present day.

See this article for more on the technical limitations of digital cameras.

Examples of my new Ricoh GR Digital II color profile