Rediscover your old photos with OM Workspace...

Last Updated: 7th June 2026 (I added more Olympus E-3 image quality)

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 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 examples.

Subsequently, I converted more RAW files from various 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 posted images. I'd like to invite you to practice your color awareness as you do with framing your scenes. Lean on familiar colors as you define 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 these 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 Olympus E-3, E-5, or E-30 with 4/3rds Zuiko lenses and Workspace...

Folks, consider having cameras like the E-3 or E-520 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 control we see from products like the OM-3 and Workspace. The OM-3 is not just another camera; it looks more like the ultimate color and Kodak-look masterpiece.

PS: I converted and edited all my RAW+ images in this article with Workspace.

Monaco - here are a few more Olympus E-3 photos

I am more comfortable photographing in the southern parts of Europe.

A few casual photos from my Olympus Pen EP-7

Last Updated: 2nd February 2026

Those things I always considered important became irrelevant the more I studied digital photography and Olympus cameras. For example, does the OM-3 improve my image quality, or is knowledge more important? How much would a new camera or the perfect exposure mix (SNR-to-ISO ratio) improve my photography? Knowledge and experience can be considered more important, as they let us manage the 2 EV difference between pro-level and budget sensors. One option increases the dependence on equipment, and the other is an enabler for more diverse conditions and applications.

While it's important to recognize the role of knowledge and the technical variables mentioned in the above paragraph, it's most likely the simplicity, creativity, and excellence of the E-P7 that encourage hobby and creative photographers to always improve their creativity and photography skills.

Pen EP-7 with 75mm f1.8 - ISO250, f2.0, 1/160 - Raw edited with WS - Pop ART filter adjusted + soft focus. 

It's good to separately evaluate the camera's technical and optical aspects. That means considering more than dynamic range, noise, and sensor size. The next step is the optical effects created by the aperture, shutter, and the lens. A basic evaluation of IQ should also include shadows, midrange, and highlight data. For example, why do some 24MP sensors capture more shadow and midrange data than other? A common challenge all digital cameras share is reliable shadow information.

The critical part of studying digital cameras is credible product information and staying focused on the fun aspects of digital photography, image editing, and the camera. For example, always keep your camera with you. It's a simple measure of a healthy passion for photography. It's sometimes difficult, but people appreciate discretion, plus nothing is as rewarding as sharing your images.

Olympus E-450 enhanced raw file converted in Workspace (Tonal curve, Vivid Picture Mode, and soft focus effect with time of day and DOF).

I recently bought a used Olympus E-3 in excellent condition for only $70. I still have vivid memories of the fun I had with my E-3 and photography from 2008 to 2010. I was stunned by the image quality of this nearly 20-year-old camera while reviewing the images from my "new" Olympus E-3. For example, I tested fifteen digital cameras from 2006 to 2025 to identify any image quality differences. I couldn't find enough or any significant differences to support the various social media claims.

It's interesting to follow modern image editing trends. Each software upgrade seems to offer more AI masking and features to manage sensor weaknesses like dynamic range and noise. It's fascinating how many of these became a remedy for the lack of digital photography know-how. Also interesting is the rapid growth of color profiles, presets, and LUTs supporting a unique photography style.

This is the most exciting configuration for the Olympus PEN EP-7. The 17mm f2.8 lens is fantastic...

The Olympus Pen EP-7 is good at capturing shadow details and small enough to keep with me. I like the illustrated E-P7 configurations consisting of the camera with the M.Zuiko 17mm f/2.8, the 17mm f/1.8, and the VF-1 Optical Viewfinder. The M.Zuiko 17mm f2.8 offers lots of "attitude" and is always on my EP-7. I also own a popular black & gray Olympus shoulder bag for my Olympus Pen F and EP-7. The M.Zuiko 17mm f/2.8 lens is great at creating natural 3D-looking results.

Many photographers link this "3D look" to the sensor. Do you support this notion that the sensor is responsible for almost everything associated with image quality? In other words, should we rely on the sensor or a combination of creativity, composition, time of day, and shadows? What about a "sum of parts" approach that includes the camera, lens, image processor, and Workspace?

The combination of Workspace, the Enhanced Raw Format, and the camera improves our results by replicating our camera settings in Workspace or by applying our experience with Workspace to select the right camera settings for general or creative situations. Always practice this unique photography style because it's an integral part of creativity with Olympus cameras and Workspace.

You will find my overview/review of the Pen EP-7 here.

The simplified version of the EP-7 menu is designed to focus on photography. As much as 80% of the E-P7, Pen F, OM-3, and Workspace features support creative photography? For example, some use tonal adjustments like highlights, midtones, and shadows to tweak their Color Profiles and ART filters. Tonal adjustments are also used to finalize exposure and the gamma curve in Workspace. Did you know that these are the only cameras that allow us target individual colors in the camera?

For more about Workspace and the Enhanced Raw Format, study this article.

How many of you tried the new ART filter options of the E-P7, Workspace, and cameras like the OM-3 or E-M10 IV? Workspace also lets us apply these ART filter options to other Olympus cameras. It's a huge enabler for those tweaking their ART filters and a game changer for those using their cameras or Workspace to prepare the final image. See these ART profiles and my E-P7 images below.

I recently changed from Photoshop to Affinity Photo 2. The similarities between what I discuss in my articles and Affinity Photo are fascinating. I find concepts like working with luminance, color, tonal, and exposure adjustments similar to the terminology found in Affinity. It's completely different from the mainstream view of measuring the efficiency of complex electronic components by their physical size or "recovering" highlights and shadows with Lightroom's highlights and shadows sliders. Affinity Photo is a joy for those wanting to apply their digital photography and camera know-how.

Why does social media advice or the "recovering" of highlights and shadows limit our understanding of digital cameras? The sensor is not the only variable responsible for image quality or the only reason for highlight and shadow clipping. See the illustration below for a better way to evaluate cameras like the E-P7, or why Olympus opted for a powerful but more user-friendly Pen E-P7.

See this article discussing the 8 variables impacting your exposure mix.

Example: Select manual mode with ISO800 and an aperture of f/4 on your camera. Use the shutter to set the right exposure. Adjust the ISO up and down and monitor the display for clipping. Does clipping mean the sensor has too little dynamic range? No, the above diagram shows there is more to digital cameras than the sensor. Every photographer should know why the camera clipped.

See this article for more about image sensors...

The photos below are basic samples of the flexibility we have with the E-P7 while creating interesting photos and short videos. I would much rather have an upgraded version of this amazing camera than a Pen F II to complement my OM System OM-3 in 2026. Imagine a metal finish and the Pen F viewfinder. It would be great to see an entry-level OM System E-P7 and E-M10 IV in 2026.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Color Creator 9:0.

EP-7 with 12-50mm f3.5-6.3 - ISO200, f6.3, 1/60 - DxO PhotoPack Generic Fuji Provia filter.

Olympus EP-7 w 17mm f2.8 lens - ISO400, f5.6, 1/80 - Raw edited in WS - Partial Color ART Filter

The above image is an interesting example. I used the Partial Color ART filter twice and combined the 2 results in Photoshop. I applied the Soft Focus Effect in the ART filter and adjusted the intensity with the Clarity and Dehaze sliders. I used a Color Filter in Workspace and duplicated the background layer in Photoshop to add a Soft Light Blending effect. It is possible to edit or adjust the intensity (opacity) of each step. I used DxO FilmPack to add a frame to the image.

Pen EP-7 w 17mm f2.8 lens - ISO250, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter w Soft Focus.

Pen EP-7 w 17mm f1.8 lens - ISO200, f6.3, 1/250 - Raw edited in WS - Pop ART II Filter

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/400 - Raw edited in WS - MonoChrome Profile.

Pen EP-7 w 17mm f1.8 lens - ISO200, f1.8, 1/250 - Raw edited in Workspace - Vintage ART filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO60, f6.3, 1/200 - Raw edited in WS - My own FujiFilm Velvia 100 Color Profile.

Pen EP-7 with 17mm f2.8 lens - ISO200, f8.0, 1/640, -1.3EV - Raw edited in WS - MonoChrome Profile + Grain.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f8.0, 1/400 - Raw edited in WS - Light Tone ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Instant Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f5.6, 1/1250 - Raw edited in WS - Vintage ART Filter w Soft Focus.

Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Grainy Film ART Filter.

Olympus Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Color Creator 2:-1 - DXO PhotoPack Frame.

Pen EP-7 with 17mm f2.8 lens - ISO200, f6.3, 1/200 - Raw edited in WS - Diorama ART Filter.

This image was taken in South Africa. The EP-7 is a great little camera...