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 their 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 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 or advanced features. The Pen F targeted creative photographers, whereas the E-M5 II and the E-M1 II target 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" repeat "we need more megapixels," the more I distrust them. Apart from the many advantages we enjoy with 20 MP sensors, we also benefit from existing M.Zuiko lenses being perfect for OM System cameras. This is not the case for those upgrading from the Fuji X-T3 or 4 to the Fuji X-T5. For example, I noticed a similar holistic image quality improvement from my OM-3 as I did with the E-M1 III. These subtle improvements are even more visible when we use professionally rated lenses with the OM-3. Modern TruePic processors make a difference when photographing with up to 10-year-old Olympus cameras. The TruePic IX & X improvements are especially noticeable with the E-M1 III and newer OM System cameras. A good example is advanced computational features like the handheld or tripod high-resolution mode 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 delivering 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 can do 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.

My Olympus E-M1 III with two amazing lenses...

Last update: 23rd October 2025

Do you think it's worthwhile to become an expert in everyday disciplines like brewing a cup of coffee, cooking a healthy meal, or being an event or wedding photographer or a ranger at a South African wildlife reserve like the Kruger National Park? Although I may not be a professional photographer in 2025, I had the privilege to develop an excellent understanding of the digital imaging process. Are you comfortable with the technical and optical aspects of photography and digital cameras?

Some of the most basic elements of digital photography are the camera/lens combination, exposure, sensor saturation, and SNR. The camera's aperture and shutter speed values control the reflected light exposing the sensor, which is an exact copy of the subject or scene. This does not change with computational features like GND filters, Gradation options, or V-LOG profiles. We manage reflected light with the so-called 4th exposure variable, which includes a flash, diffuser, or time of day. Does this mean social media talking points like dynamic range or noise are not 100% accurate?

Olympus E-M10 IV with the M.Zuiko 45mm f1.8 lens. ISO3200, f6.3, 1/25. I converted the RAW file in Workspace (Low noise filter).

The Olympus E-M1 III and the M.Zuiko 7-14mm f2.8 Pro lens are some of the finest M43 products. The Olympus R&D team excelled in firmware options, offering more control over the technical limitations of the image sensor. The result is Olympus cameras with high-sensitivity sensors, M.Zuiko Pro lenses, advanced TruePic image processors, computational features, the Enhanced RAW Format, and post-processing options like Workspace. Olympus successfully leveraged the sum-of-parts concept, while competitors focused on more megapixels, larger image sensors, and the premise that physical size is a reliable measure for technical efficiency. These include typical technical aspects like image noise, dynamic range, sensor saturation, and SNR. (See the photo/electrons graph for more)

Is physical size really a reliable measure for technical efficiency?

The Micro Four Thirds (M43) format benefits from a wide selection of quality M43 lenses. Olympus and OM System M.Zuiko lenses are known for affordability and high-quality optics. An in-depth discussion of the design philosophy behind Olympus cameras, M.Zuiko lenses, and the M43 digital sensor format would take months. Meanwhile, some forum experts argue that Olympus produced inferior quality and released cameras with lower image quality in an attempt to rebound from a corporate scandal. This raises more questions about the reliability of opinions shared by social media experts.

See this article for more about the E-M5 III and the "corporate" scandal.

PS. The images in this article is best viewed on a large computor screen.

Figure 1

The above illustration depicts a typical challenge photographers are facing on a regular basis. Why did the shutter speed drop by 1 EV in aperture mode and a focal length of 56 mm, or why did the sensor receive only 0.5 EV more reflected light? The variable aperture of the 24-200mm lens changed by -0.5 EV, which caused less light to reach the sensor. The resulting shutter speed advantage was +0.5 EV, which improved the noise in the image to the right (study the histograms). Olympus cameras and the large selection of M43 lenses make it possible to select the right camera and lens combination for our photography needs. For instance, the Lumix 35-100 f2.8 IS lens would have improved the SNR and image quality by up to 2 stops from f2.8 to 4.5. See my articles for more information.

The M.Zuiko 7-14mm f2.8 Pro lens

The M.Zuiko 7-14mm f2.8 Pro lens is the only ultra-wide-angle M43 zoom lens with a constant f2.8 aperture. It delivers exceptional results and is surprisingly small for an f2.8 wide-angle zoom lens. For example, the deep FOV benefit of M43 cameras makes the 7-14 mm an exceptional lens at f2.8. We have no less than five excellent M43 wide-angle lenses with variable and fixed apertures. What makes the 7-14 mm Pro lens unique is its secondhand pricing. Why would one buy a used 7-14mm f2.8 Pro lens and not the newer 8-25mm f4 Pro lens? Price is one reason, but more importantly, it's about application and what you want from a particular lens. The M.Zuiko 7-14mm f2.8 Pro is one of the best low-light options. The images below were taken with the E-M1 III and the M.Zuiko 7-14mm f2.8 Pro lens. I converted the Enhanced RAW files with my preferred RAW converter, Workspace.

The M.Zuiko 12-200mm f3.5-6.3 lens

What if the comprehensive range of M43 lenses is one of several reasons why real M43 photographers hardly ever need more megapixels? The M.Zuiko 12-200mm f3.5-6.3 is an excellent multipurpose lens and one of several reasons for not having to crop. It's possible to correctly frame and capture almost any scene from 12 to 200 mm, or 400 mm with the 2x digital converter. In other words, some need to crop to 20MP, while M43 photographers capture correctly framed images at 12, 16, or 20MP.

Olympus E-M1 III with the M.Zuiko 75-300mm f4.8-6.7 lens. ISO800, f6.3, 1/1600 I converted the RAW file in Workspace.

A fascinating aspect of the size and handling benefits of M43 cameras is illustrated by the slight color changes between the two images in Fig. 1. The image on the left was cropped in Workspace, and the one to the right filled the frame at a focal length of 56 mm. The camera measured a wider view with brighter skies on the left and more dark areas in the image to the right. Accurate exposure and white balance readings and the TruePic image processor are the main reasons why Olympus is famous for its Kodak-like colors. Another crucial aspect is having more tonal data to work with when the histogram is moving to the right. The benefits of learning more about digital cameras are huge.

My grandson and I enjoyed a photowalk with his Panasonic G3 and Lumix 14-42 and 45-200 lenses, which I purchased for $120 in Dec 2024. Our goal was the late afternoon sun and painting with light while enjoying photography and the beautiful Bodensee village. We had so much fun experimenting with light and different creative ideas. The camaraderie of spotting and photographing those unique light paintings was priceless. We have so many new ideas for our next photowalk.

Olympus E-M1 III with the M.Zuiko 12-200mm lens.

The M.Zuiko 12-200mm f3.5-f6.3 is a smaller lens option for day-to-day photography. My wife prefers her 14-150 because the 12-200 weighs more and is a little bigger. I think the 14-150mm is a great lens but prefer the 12-200 option. The IQ combined with the physical size and zoom ratio of the 12-200 is unbeatable. I appreciate why photographers want lenses like the M.Zuiko 50-200mm f2.8 Pro. The 12-200 mm is an amazing alternative for those looking for a smaller but capable package.

These highly acclaimed M.Zuiko lenses offer a range of 7 to 200 mm, fit into my shoulder bag, and have all the benefits and characteristics of ultra-wide-angle and long-range lenses. Surprisingly, the 7-14 mm, f2.8 Pro is selling at lower used prices than the 12-200 mm f3.5-6.3 lens. Both these lenses offer a distinct 3D look. The DOF advantage of the M43 format further enhances the 3D look.

Canon EF 24-105mm versus the Olympus12-200mm lens.

See this article about the 12-200mm lens and wildlife photography.

The following images were taken with the Olympus E-M1 III and the 12-200mm lens. I converted the RAW files with PhotoLab 7 and use a similar workflow for PhotoLab as Workspace. I prefer PhotoLab 7 because the modern AI look reminds me of those surreal HDR images. That and the Olympus sum of parts strategy make spotting and capturing the right moment fun, knowing that it takes only small tweaks to highlight the painting with light effects in my RAW files and Workspace.

Why do I think social media advice on noise and dynamic range is generally inaccurate? The advice most photographers get is something like, "Smaller sensors have more noise and less dynamic range." Social media experts also claim higher ISOs cause more noise. The truth is, dynamic range and noise (sensor + shot noise) are a function of the camera's design criteria. Higher ISOs mean the sensor is underexposed and at a lower SNR. The social media version offers only one option, whereas the truth has various options to manage the SNR. That's why one image has more noise while both were taken at ISO3200 (Fig. 1). Dynamic range is similar but needs a more in-depth conversation. See my articles for more. Can we trust any advice coming from the social media information layer?

It's often better to buy a used Lumix 35-100mm f2.8 lens for the M43 camera you already own than to buy an expensive Sony camera. How many M43 photographers made the mistake of purchasing an older FF camera or an expensive Sony with a silly "kit" lens because quality FF lenses are simply too BIG in price, size, and weight? I tried several FF combinations and always returned to M43. Folks, the basic technical and optical truths illustrated in this article apply to all digital cameras.

Best

Siegfried