South African and other African Game Reserves are popular wildlife photography destinations. My wife and I love watching and photographing wild animals and birds in their natural habitat. We visited South Africa in July 2024, and being South Africans, we couldn't wait to return to the Bushveld.
The Dinokeng Game Reserve is associated with birdlife, the Big 5, and the bushveld. The bushveld region is known for its mild winter seasons, pastel colors, types of trees, and mixed grass fields. One quickly spends hours photographing trees, grass fields, and landscapes in the bushveld. For example, the red grass in some of my images is unique for the bushveld, and the many anthills are underground and external housing structures for working ant communities. The external part protects them against snow or heat, and the inside structure and channels are housing and cooling infrastructures...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/500 - This was not in Dinokeng.
This article discusses our recent visit to South Africa and the camera equipment we used. I will focus on the three camera bodies and lenses we used in South Africa. The article is written for casual or hobby photographers who prefer general advice on camera equipment and wildlife photography.
Many hobby photographers ask which camera is best for wildlife photography. Most assume that would be expensive "Pro" equipment. The best camera is the one you have on you. For example, the EM10 III and the 14-150 plus 75-300mm lenses require little backpacking space and are perfect for hobby and general wildlife photography. What are the benefits of having expensive Pro equipment?
We stopped 1 to 2 car lengths away from these Cheetahs, and our only camera was an iPhone 14. AI deleted the sitting Cheetah's right leg...
The above image is an example. Our cameras were in the trunk while driving to the Game Lodge. Our safest option was to stay in the car when we spotted the Cheetahs. While I am thankful we have this photo, it illustrates why I don't use my Mobile Phone for photography. DxOMark-News did a consumer study showing how biased AI algorithms are responsible for disproportionate images and the inaccurate colors associated with mobile phones and web-based AI image generators. For example, it was impossible to "rescue" the above photo in Photoshop. See the more natural-looking Cheetah photos from my Olympus E-M1 III with the Zuiko 12-200mm f3.5-6.3 lens a little further down.
See this video showing how to create an AI image in Photoshop.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f9, 1/320 - Enhanced Raw converted in WS.
Expect to see an increase in secondhand camera pricing when manufacturers decide to add AI to the camera's image processor. Why would this happen, and what makes the existing image processors so unique? The global push for AI normalization became part of a strategy to promote mobile phones on photography forums. Promoters will upload close-ups of models or basic product photos to present mobile phones as "compact cameras" with advanced HDR and AI image processing capabilities...
Why is the 12MP Olympus Stylus 1s optically superior? Because they produce natural-looking images with the TruePic VI image processor, IBIS, 12MP 1/1/7" BSI sensor, and the Zuiko 28-300m f2.8 lens. In contrast, mobile phones are handicapped with a limited zoom range or subjects further away than 3m. This makes the Stylus 1s an informed or logical choice for nature and wildlife photography...
My wife creates ART with the AI services Bing, Copilot, and Midjourney. One of the current weaknesses is disproportionate image creation (processing) when adding arms, legs, or fingers. One should also distinguish between AI and computational features like Pro-Capture, Live Composite, Focus Stacking, and High-Resolution mode. The functionality of modern Olympus cameras improved with the addition of computational features. Should we expect the same improvements from AI?
Study the above cheetah image on a large 27" display. AI deleted the sitting cheetah's right leg...
My wife used Bing to create this image...
Forum promoters push the idea that Olympus had quality inconsistencies with Standard and Premium Zuiko lenses. They hardly ever provide comparisons, data, or M43 lenses matched to applications or specific camera bodies? For example, I prefer the 12-45mm f4 Pro in poor weather conditions, even though I see no real IQ differences between the 12-50mm and the 12-45mm f4 lenses. The EM-10 IV and E-M1 III lens combinations showed their individual strengths in diverse applications. It's a good idea to match your individual requirements to the right camera and lens combinations.
Dust was a challenge in the Dinokeng Game Park. My camera and lens combo were always covered with a thin layer of dust. The Olympus Supersonic Wave Filter (SSWF) plus the dust protection in the 14-150mm f3.5.5.6 II and 12-200mm f3.5-6.3 lenses help us to stay focussed on photography...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/320 - Enhanced Raw converted in WS.
The Olympus 12-200mm lens has proven to be surprisingly capable. It's more cost-effective and weighs less than the 40-150mm f2.8 Pro lens with the 1.4X converter. The EM1 III plus 12-200mm is another compact option with good handling and IQ which is perfect for game drives and general trips.
Lenses like the Standard M.Zuiko 12 - 200mm, 70 - 300mm. 14 - 150mm are perfect handheld lenses whereas the 40 - 150mm f2.8 and 300mm f4 Pro lenses are perfect for tripod applications. Both these Standard and Pro Zuiko zoom lenses are great M43 lenses for the wildlife photographer.
E-M10 IV and 45-175mm - ISO800, f5.6, 1/3000 - 2X digital converter (350mm reach @ f5.6).
The Zuiko 24-400mm FF equivalent lens is a perfect general and weather-sealed option. The digital converter has an almost 400mm to 800mm (FF) reach. It's critical to regularly practice with the Zuiko 12-200mm f3.5-6.3 lens because it's designed to deliver excellent wildlife and holiday results.
The above image was taken in Switzerland. Did I correctly use ISO800? This is an interesting question because I basically amplified the image 3 times with the ISO, WS (EC slider), and the digital converter. Knowing this, how would you manage this high level of image signal amplification? Would having more light on the sensor and a lower ISO be an option when using the 2X digital converter? I won't take any special precautions because the 2X digital converter delivers full-resolution images.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS. (Magaliesberge)
The main challenge with Standard and Premium lenses is slow apertures or lens speeds. For example, I won't use my 12-200mm lens on early morning safaris. The Olympus Zuiko 40-150mm f2.8 Pro lens is perfect for early morning applications or low-light conditions in the Dinokeng Game Reserve.
Which of the EM1 III or EM10 IV is better for sunrise safaris? We need higher shutter speeds for landscape, bird, and wildlife photography. That means high ISOs or fast lenses in low-light situations. The AI noise filter of Workspace lets us use higher ISOs and shutter speeds with the EM1 III.
Another consideration is the different types of game drives. For example, a photography experience is vastly different from a tourist experience. A good example is a specific wildlife safari that focuses on photography and the photographer. It's also possible to have personalized hiking tours with professional rangers from Dinokeng. Small groups of hikers are accompanied by Dinokeng rangers.
Olympus EM10 IV with Lumix G Vario 45-170mm f4.0-5.6 PZ lens - ISO1600, f6.3, 1/2000 - Raw file converted in WS.
Some Tips when Planning Your Wildlife Photography.
The most empowering decision any photographer could make is to reject any undisclosed social media promotion. In fact, most forum discussions and YouTube product presentations should be considered another repetition or undisclosed promotion. The second thing is to accept that Olympus M43 lenses were carefully designed and ready to produce acceptable to excellent image quality.
See my DXOMark article for more about acceptable and good image quality.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f5.9, 1/650 - Enhanced Raw converted in WS.
The Olympus E-M10 IV with the 14-42mm EZ lens and the 45-175mm Lumix lens is a capable and tiny combo with a reach of 350mm (FF). The Lumix 45-175mm lens is fast, which enables us to use higher shutter speeds at lower ISOs. The Olympus 12-200mm is slower and needs good daylight.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/640 - Enhanced Raw converted in WS.
The Olympus E-M1 III, EM10 III, and IV are capable cameras. They produce clean JPEGS up to ISO1600 in the camera or when converting ISO1600 Enhanced Raw Files in Workspace. The main advantages of the Olympus E-M1 III are Pro features like Pro Capture, Autofocusing, and the AI noise filter above ISO800. See my articles on exposure techniques for good results above ISO1600...
Olympus E-M1 III with the 12-200mm lens. ISO200, f9.0, 1/500. Converted and in WS. I didn't try the 2X digital converter.
For example, there are almost no IQ differences between the EM1 III and E-M10 IV. The difference is features, knowing your camera, and experience. I was photographing mountainous scenes when we spotted 5 vultures. My lack of BIF experience with my E-M1 III showed as I struggled to capture them. Quickly changing one's camera settings and the E-M1 III's Pro features give better photos. A critical aspect of bird and wildlife photography is the ability to capture that special moment...
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f7.1, 1/640 - Enhanced Raw converted in WS.
Another critical aspect of wildlife photography is zoom reach and knowing how to apply EV Stops. For example, one gains 1EV when swapping the Olympus 12-200mm with the Lumix 45-175mm lens. This explains one of the main benefits of the Olympus 40-150mm f2.8 Pro lens with the 1.4X or 2X converter. How does this 80-300mm f5.6 Pro combo compare to the Zuiko 70-300mm lens?
For example, the Olympus 40-150mm f2.8 Pro lens with the 1.4X converter is 1.3EV quicker at 200mm than the 12-200mm f3.5-6.3 Premium lens. That means we can more than double the amount of light on the sensor. This is ideal for low-light applications like sunrise wildlife opportunities.
My wife's E-M10 III with 14-150mm f3.5-5.6 II - ISO200, f4.5, 1/400 - The Nyalas were in the camping area.
The Olympus 40-150mm f2.8 Pro and 2X converter is a small Pro option with an equivalent FF range of 80-600mm f5.6. Is this why forum advisors (promoters) say M43 photographers should not use the Olympus 2X converter?It's like saying the best M43 traveling lens is the Olympus 12-100 F4 Pro. Why do they all promote this BIG lens? Why not the 12-45mm plus 40-150mm f4 Pro lenses?
Source: www.ricardo.ch
Why would someone say the Olympus 12-100mm f4 Pro lens is a good traveling lens?
Olympus E-M1 III with 12-40mm f2.8 Pro lens and tripod - ISO800 - Enhanced Raw converted in WS with the AI Noise Filter on Low.
The South African bushveld is green in summer and dry in winter. The winter season is good for finding and spotting wild animals. My posted images are typical of the South African winter season. My brother and I made a day trip to the Dinokeng Game Reserve, and my wife and I spent two nights in the Ouklip Game Lodge (the same game reserve) close to Pretoria.
This website has more info about the animals and birds of South Africa.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
What about my camera equipment?
Our visit to South Africa was packed with diverse photo opportunities like Glamping, game drives, bird and wildlife photography, several day trips, plus quality time with family and friends. I took the following Olympus and Panasonic M43 equipment to South Africa:
Olympus E-M1 III and E-M10 IV camera bodies
Olympus 40 - 150mm F2.8 Pro lens
Olympus 1.4X and 2X converters
Olympus 12-200mm F3.5-6.3 lens
Olympus 12-40mm F2.8 Pro lens
Olympus 14-42mm f4.5-5.6 EZ lens
Olympus 75mm f1.8 Zuiko Lens
Olympus 9-18mm f4.0 Zuiko lens
Lumix Vario PZ 45-175 f4-f5.6 lens
Leica (Lumix) 25mm f1.4 lens
Manfrotto carbon Tripod
Lowepro "CompuDaypack"
Lowepro Shoulder bag
Accessories like a flash and Polarizer filter...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
What changes will I make for my next trip? Will I replace my M43 equipment? Size and weight are critical considerations when I replace a camera or LENS. Based on weight and usage, I am considering the following changes for my next wildlife photography or tourist experience:
Olympus E-M1 III and E-M10 IV camera bodies
Olympus 12-200mm F3.5-6.3 lens
Olympus 12-45mm F4 Pro lens
Olympus 14-42mm f4.5-5.6 EZ lens
Olympus 9-18mm f4.0 Zuiko lens
Lumix Vario PZ 45-175 f4-f5.6 lens
Leica (Lumix) 25mm f1.4 lens
Olympus 17mm f1.8 Zuiko lens
Manfrotto carbon Tripod
Lowepro "CompuDaypack"
Smaller Olympus Shoulder bag
Accessories like a FL-300 flash, bean bag, and Polarizer...
This lightweight package includes my camera gear, accessories, MacBook, cables, and traveling documents.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS. (Cheetah)
The Olympus EM10 IV with its built-in flash and the Zuiko 14-42mm kit lens at a family event. An Exp. Comp. of -0.7EV.
Conclusion.
Our time in South Africa was spent on family and friends, various day trips, and tourist activities. The Olympus 12-200mm lens has proven to be very capable. The E-M10 IV with the 14-42mm EZ and 45-175mm Lumix combo are small and capable, while the Olympus E-M1 III with the 12-200mm and 12-40mm Pro lens combo are ideal for bird and wildlife photography. Interestingly, I never felt the 40-150mm f2.8 Pro and 1.4X (2X) combo would make a significant enough difference...
I never needed to push (saturate) the sensor or increase my tonal data. I used Aperture Mode and occasionally Exposure Compensation. I converted all my Enhanced Raw Files in Workspace and slightly edited them in Photoshop. Workspace has repeatedly proven to be a good Raw Converter...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
It felt good to see the relevance and affordability of used equipment. My E-M1 III and the E-M10 IV with the 14-42mm EZ and 40 -150 f2.8 Pro lenses are less expensive than a new OM-System OM-1 II. Folks, the older Olympus E-M1 III with its new Truepic IX image processor is a masterpiece...
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
It's difficult to experience all the animal or bird species or explore each corner of Dinokeng in three days. For example, Hyenas sleep during the day and are active from approximately 18H00. Photographing most of the animal and bird species can take days. The ideal alternative is something like the Kruger National Park or monthly excursions to game reserves like Dinokeng.
See this article about wildlife photography with M43 cameras.
Olympus EM10 IV with the Lumix FZ 45-175mm lens. The image was taken during a casual 9 holes...
It takes patience, self-control, and practice to enjoy balanced photography sessions versus enjoying the bushveld and wildlife in Dinokeng. For example, it takes a few hours to wind down and enjoy an African game reserve and wildlife scenery. Our selection of camera gear supported this state of mind as we planned our visit to South Africa and Dinokeng as tourists and not Pro photographers...
See this documentary about relocating lions to Dinokeng. Link
Siegfried
My wife's Olympus E-M10 III with 14-150mm f3.5-5.6 lens - ISO200, f5.6, 1/800 - Jpeg out of the camera.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f5.6, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/500 - Enhanced Raw converted and Adjust Color function in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/250 - Enhanced Raw converted in WS.
I experimented with Pro Capture and the E-M1 III and edited these Enhanced Raw Files in Workspace.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/80 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO400, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-f6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f7.1, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/800 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS. It's rare to see a Rhino sleep like this.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f5.6, 1/1600 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO800, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/500 - Enhanced Raw converted in WS. (Vleiloerie)
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO1000, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO500, f6.3, 1/500 - Enhanced Raw converted in WS.
Center image. Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1000 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M10 IV with Lumix PZ 45-175mm f4-5.6 lens - ISO200, f5.6, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO2000, f7.1, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/640 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO400, f6.3, 1/250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO320, f6.3, 1/400 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/630 - Enhanced Raw converted in WS.
E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/400 - Enhanced Raw converted in WS. The red grass is unique to the bushveld.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/1250 - Enhanced Raw converted in WS.
Olympus E-M1 III with 12-200mm f3.5-6.3 lens - ISO200, f6.3, 1/320 - Enhanced Raw converted in WS.
Imagine looking at a freshwater stream going through a beautiful Alaskan valley. On one side, you see Fuji enthusiasts with a great collection of new cameras and unique film simulations. Conversely, you see Olympus photographers focussing on dynamic range, noise, and diffraction. Fuji photographers differentiate themselves with enthusiasm, a great selection of cameras, and user film profiles. On the other hand, it took Olympus photographers almost 10 years to accept the Pen F and E-P7.
It's interesting to revisit the launch of the Olympus E-M1 in 2013, the E-M5 II in 2015, Fuji's X-T1 in 2014, and Sony's A7R II in 2015. Olympus launched its first Pro M43 camera model and the second-generation E-M5 II with a clear creative, computational, video, and IBIS focus when Sony introduced its first camera with IBIS (A7 II), Fuji the high-end X-T1, and Canon and Nikon more DSLRs.
PS. I added a conversation with AI at the end of this article...
Olympus EM10 IV with 14-42mm f3.5-5.6 II lens - ISO200, f5.6, 1/400 - Enhanced Raw file converted with WS (Monochrome profile)...
A small group of visionaries at the Olympus Imaging Business introduced the E-Volt E-1 in 2003 with a new digital sensor format. In the years following, we saw competitors forming a collective full-frame community with the promise of having "perfect" image quality. The oversimplified "size and capture" theory followed while targeting the new 4/3 format with ongoing counter-marketing actions.
The camera segment and supplier marketing strategies are perfect case studies for future marketing students. We learned that innovation means nothing without an aggressive and agile marketing team. The result is those who discover Olympus cameras have a great innovation experience. Let's take a closer look at Olympus cameras and why the joys of owning one of these cameras.
See this article for more about the drive for innovation and Olympus cameras.
Olympus Pen F with 17mm f1.8 lens - ISO200, f7.1, 1/100 - Enhanced RAW, WS, Color Adjust, and Pop ART filter w Soft Focus effect.
It's fun to study the Olympus digital 4/3 (M43) sensor format, the general evolution of image sensors, and the vision the Olympus engineering team had as they pioneered the future of mirrorless cameras. It's also exciting to see photographers break away from the collective full-frame mediocracy to discover Olympus M43 cameras like the Pen F, EM5 II/III, EM1 II/III, OM-1, and now the OM-3.
Olympus E-M10 IV with 14-42mm f3.5-5.6 II lens - ISO200, f5.6, 1/400 - Enhanced Raw converted and edited in Workspace.
Why a collective full-frame mediocracy? Well, it takes a seriously simplistic view of the world to accept something as basic as the "bigger one is better." Every full-frame talking point applies to all digital cameras. For instance, ALL image sensors have a noise floor with visible noise at lower SNRs. The full-frame mediocracy cannot explain the unique differences between the sensor's technical and optical characteristics because the "size and capture" theory assumes the "bigger one is better." In fact, the "size and capture" theory became so charged on social media that it's impossible to believe anything social media advisors say in 2025. Consider the absurdity of investing thousands without seeing one credible technical paper generalizing the "bigger one captures more light" theory.
More about an almost-perfect photography solution...
The Olympus Imaging Business completed its photography solution before closing the activity. For example, they replaced some 16MP and 20MP Live MOS sensors with new sensors, FW updates, and the first Stacked M43 BSI sensor for the Olympus OM-1. They created an advanced Image Processing typology with dedicated Image, Autofocus, and Art Processors. Similar processing features are found in Workspace and the Enhanced Raw Format. One can summarize the evolution of this unique digital photography solution in 3 R&D phases. The result is an M43 camera solution that records an image and processes the JPEG in the camera, OI Share, or Workspace via the Enhanced Raw Format.
Did you know it's possible to tweak the image tonal response (Gradation, highlights, mid-tones, and shadows) in Workspace? This was made possible with the Enhanced Raw Format...
Development Phase 1
Olympus introduced 6 ART filters in 2008 when they launched the new E-30 with a dedicated Creative Processor. Subsequent cameras like the E-30, E-620, E450, E-P1/2, and E-M5 also received these ART filters. Towards the end of this phase, Olympus launched the new EM5 II with computational functions like the 40MP high-resolution mode, Live Time, and Live Composite. Did you know that it's possible to apply almost any aspect ratio to Olympus photos (frame below) in Workspace?
This article discusses photography enthusiasts discovering Olympus.
Olympus realized that the old-school configuration of cameras consisting of a sensor, processing, and lens was not enough to supply future solutions to photographers. This led to an innovative strategy focussing on IBIS, creative functions, and advanced computational features. Olympus introduced its new Corporate Innovation program with the E-30 in 2008. It probably looked like this:
Mirrorless cameras (digital sensor design with a focus on optimizing size and weight)
A wide range of high-quality Zuiko lenses to complement the new sensor design
New TruePic image processors with multiple processors handling the new features
A digital sensor design with a focus on Sensor Sensitivity and advanced noise control
Advanced technologies like image stabilization IBIS and Dual AF with AI solutions
Class-leading creative functions, computational options, Enhanced Raw Files, and WS
Olympus E-M10 IV with 17mm f1.8 - ISO125, f1.8, 1/4000 - Enhanced Raw File converted in WS (ART filter).
Development Phase 2
In this phase, Olympus improved our control over the camera's tonal or gamma curve. This included the "Auto" Gradation function, Highlights/Shadows and Midtones, plus the Workspace Tone Curves function. The Color Creator lets photographers add a "chrome" or "global" color effect, and the Color Adjust or Monochrome Profile functions gave us the flexibility to target individual colors with the E-P7, the Pen F, and Workspace. These were huge steps in growing the camera's functionality.
Olympus E-PL9 with 14-42mm EZ - ISO200, f9.0, 1/200 - Enhanced Raw converted/edited with WS (ART filter).
Development Phase 3
This is an exciting phase for M43 photographers. Olympus introduced the next-generation ART filters and gave us more control with the E-M1 II/III, E-M10 III/IV, E-P7, E-PL9/10 E-M5 III, and the OM-1. More Workspace improvements enabled M43 photographers to apply Color Profiles (Color-Adjust tool) to almost all Enhanced Raw files. This phase also introduced new computational features like Pro Capture, handheld High Ress Mode, advanced AF, Starry Sky AF, and ND filters.
It's only possible to provide a high-level overview of Olympus cameras in a short article like this. For example, the illustration below is crucial to master digital photography and Olympus cameras. Break away for an hour, get a cup of coffee, and see this video explaining the illustration below.
The 6 steps to unlock your creativity with Olympus cameras...
Your creative photography with Olympus cameras will radically improve if you:
STOP the counter-marketing smear by avoiding social media advisors at all costs.
Accept that the Olympus Imaging Business was part of the Olympus Corporation.
Break away from the hold and negative programming effect of counter-marketing.
Improve your knowledge and experience of photographing with digital cameras.
Work hard to rediscover the M43 format and your Olympus or new OMS camera.
Be part of the discussion and constructive criticism of OM-System and the future.
Olympus E-M5 II with 12-50mm f3.5-5.6 lens - ISO200, f6.9, 1/320 - Enhanced Raw, Instant Film ART Filter, Color Adjust + Tonal tweaks.
Imagine what if... Fuji photographers had access to these features...
Fuji developed a wide range of new mirrorless cameras plus firmware upgrades to support a growing community of photographers who appreciate their "Color Science" and the community's Color Profiles. It's interesting to see what Fuji photographers do with only a few camera settings. For example, study the camera settings in this Color Profile (recipe) from a well-known Fuji photographer.
One can indeed do much with Fuji cameras and Fuji's Raw Studio. Knowledge and experience are equally important when working with Olympus or Fuji cameras. I like Olympus photographers to see what Fuji photographers achieved with only a few camera settings. The following illustration is only a snapshot of what M43 photographers can do with Olympus M43 cameras and Workspace...
Did you know that the best way to familiarize yourself with these creative functions is to convert/edit your Enhanced Raw files in Workspace? The more I practice with Workspace, the easier it gets to be creative with my Olympus camera or to plan my editing workflow while photographing...
Conclusion
The initial Olympus ART filters were wild, and most M43 photographers rejected them. What we have today is something completely different. It's now possible to tweak some ART filters or target specific colors. The editing scope of both Raw and Jpeg files is endless in Workspace. Phase 3 made it possible to create complex and unique color profiles that will support almost any photography style...
Olympus created an M43 digital camera solution that lets photographers enjoy unique photography styles. Workspace and the Advanced Raw Format are integral to this complete solution. This includes a comprehensive lens offer and cameras like the older E-series (E-30, E-620, E-450) plus M43 cameras like the E-M1, E-M5 II/III, E-M1 II/III, the EM10 series, the Pen series, and the OM-1.
Folks, I apply my Olympus cameras differently to the social media version focusing on image noise, high dynamic range, diffraction, and worrying about "plastic bodies" and lens quality. I gained a good understanding of image sensors, digital cameras, M.Zuiko lenses, and the features Olympus created to manage the image-taking and post-processing process with Olympus cameras...
Olympus E-M1 III with 75-300mm f4.8-6.7 II lens - ISO200, f6.1, 1/125 - Enhanced Raw, Partial Color ART filter, Adjust Color + Tonal Tweaks.
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