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Peak Design Slide Lite Camera Strap

Although the OM-1 II is a fairly compact camera and can be easily carried on the smaller Peak Design Camera Leash, I prefer using the Peak Design Slide Lite with my OM-1 II as it is more substantial, is wider and so more comfortable to carry for longer periods and with enough strength to hold even my heaviest OM System lenses like the 100-400mm II. It features a one-hand adjustment so can be fitted to taste although I must be a bit useless as I find I have to adjust it with two hands.

What really sets it apart is the Anchor Link system. Once you’ve used it, it’s hard to go back to threading straps through metal lugs. You attach the Anchors to your camera lugs and then simply clip the camera strap in to those. It’s really secure, means that you can remove the strap quickly when you want to and if like me, you have more than one camera, you can simply move the strap between multiple camera bodies when needed.

I’ve owned mine for several years now and used it heavily through heat and dust in Asia to wind and rain here in Scotland. It’s coped with all that use and still shows hardly any signs of wear.

If you often shoot your OM-1 II with smaller lenses like the f/4 zooms or 1.8 primes then you may prefer the Peak Design Camera Leash as it’s smaller, thinner and is easier to stuff in your pocket when not in use. It also features one-handed adjustment (which I can actually use one-handed) the same Anchor mounting system and is easily strong enough to carry the OM-1 II with all but the heaviest of lenses.

The ideal situation is to own both straps and simply swap between them depending on what lens you plan to use on a given day. That’s exactly what I do.

Peak Design Capture Clip

If you want instant access to your camera but don’t like having a camera strap around your neck then the Peak design Capture Clip is a fantastic carrying solution for anyone like me, who hikes with their OM-1 II.

It’s a metal mount that attaches to any backpack or bag shoulder strap with a plate that attaches to the tripod mount of your camera. You can then simply slide the clip (with camera attached) into the mount and remove it with the press of a quick release button.

For any hikes, where I want the camera instantly accessible but also want the ability to keep both hands free, the Capture Clip has become my favourite way to carry the OM-1 II. It frees up your hands and unlike a camera strap, the camera remains in place without swinging or feeling awkward. I use the Capture Clip with a variety of cameras up to the Nikon Z8 with 24-120mm f/4s lens attached so it easily copes with the weight of the OM System OM-1 II + 12-40mm f/2.8 pro or similar sized setups.

It’s made from high grade metal, has been out in all weathers with me and shows no sign of rust. Its mounting plate is also inter-changeable with the Peak Design Travel tripod so switching between the two is quick and easy for those rare times when I use a tripod with the OM-1 II.

I’d go as far as saying that it’s the best way to carry the OM-1 II if you’re heading out for long walks with the camera. I have mine permanently attached to my hiking backpack and use it constantly.

Keeping the OM-1 II clean

The OM-1 II is the kind of camera that I take anywhere, in any weather. Sometimes I put it on the ground when I’m stopped, it gets wet, it gets muddy and it keeps going. With that kind of use, it’s only right to ensure I at least have the ability to clean it off when I get home as well as giving it a little bit of extra protection.

Expert Shield Screen Protector

I’ve tried many different screen protectors over the years but I’ve settled on using Expert Shield versions due to their easy application, strong protection and clarity. This is the one area where you can offer the OM-1 II a little extra protection to protect the important rear LCD screen and for less than the price of a coffee and slice of cake.

Camera Cleaning Kit

After a rough day in the field, I am meticulous about cleaning the camera down to ensure it’s ready for its next outing. If it’s covered in mud or gunk then the OM-1 II is so well sealed that I’ve seen people literally rinsing it off under the tap. I don’t do that but I do use the camera cleaning kit below which includes everything that you need to remove mud splashes, grass seeds, dirt and dust. I normally wipe the camera off with a microfibre cloth to get it reaonably dry, once dried I blow off all the remaining dust with the included rocket blower.

The best Memory cards for the OM System OM-1 II

The Om-1 II is a fast camera, with its stacked sensor and fast burst shooting rates. To ensure that my memory cards can keep up I use two different kinds, but always from Sandisk. The reason is that in my 20 years of photography, I have never had a Sandisk card fail on me, unlike other brands. I find that a 256gb card is about the perfect size before they start becoming too expensive, while giving plenty of capacity for thousands of photos.

For normal photography use, I have lots of affordable Sandisk Extreme Pro SD cards which are rugged, reliable and plenty fast enough for landscapes, family and general use. They work perfectly well even with the OM-1 II’s Hi-res files. For wildlife shooting, you will need a faster card or the camera will slow down as soon as you fill the buffer. For that I recommend the latest Sandisk Extreme Pro V-90 cards.

Power

The OM-1 II has decent battery life but even so, computational modes, IBIS and a 5.6 million dot EVF consume battery power. I no longer recommend buying loads of batteries for each camera that you own as theyre not cheap and now that almost every camera has the ability to be charged by USB-C it just makes more sense to spend that money on a powerbank that can also be used to power other devices or multiple cameras. I’d recommend getting one genuine OM System BLX-1 battery for your camera and then investing in an Anker powerbank. That’s exactly what I have now settled on after using multiple different third party batteries for my OM-1 II and not being happy with their performance.

I use an Anker Nano Powerbank when I am just out for a day or two and need the ability to quickly top up the camera. It has enough power to fully charge the camera’s battery multiple times and has an integrated cable which means I’m never scrambling around to find wires. It’s also small enough that I never begrudge carrying it. This is my everyday carry and the exact one that I use.

For more power, when I’m staying out longer, have multiple devices to charge or am away on trips, I use another Anker powerbank with an integrated USB-C cable that has 20,000 mAh of power which is plenty to charge up multip camera batteries, my phone and my Ipad Pro. This is the exact one that I use:

The OM System OM-1 II is an incredibly versatile camera that is built to be taken everywhere and do everything. It’s the only camera that offers an IP weather resistance rating, the only one that I’ve ever seen washed under faucets to be cleaned. It can basically stand up to anything that you throw at it while being capable of virtually any type of photography you can dream of. It doesn’t require a lot of accessories to make it complete, just a few well chosen ones that work seemlessly and make the experience of owning the OM-1 II even better.

Last week, I wrote about dealing with a creative rut—something most creatives have to deal with at some point or another. In that piece, I touched on how using smaller cameras often helps me push through those stagnant patches. They act as a mental crutch to relieve self-induced pressure, encourage me to simply get outside, and offer a vast array of computational modes to make experimenting with photography much easier.

This weekend gave me a chance to put that exact philosophy into practice, using the OM System OM-1 Mark II on a routine evening walk.

Low-Friction Wandering

Right next to where we live in Perthshire, we’ve gotten into a wonderful habit of taking our elderly neighbours’ dogs out. It’s a beautiful little walk on the local country estate, it helps out people who can no longer take their dogs for anything more than a quick toilet break outside, and it provides a completely low-friction way for me to get out with a camera.

This time, I decided to pair the OM-1 Mark II with the OM System 25mm f/1.2 PRO lens. When I am in a creative rut, using a zoom lens gives me far too many options and quickly overwhelms my brain. The simplicity of a prime—and specifically one of my all-time favourites across any system—was designed to remove that friction and get my creative juices flowing. I keep my setup as simple as possible and only add a few essential accessories which I went through in another article.

It was early evening with the sun dropping low in the sky. As we picked up Teddy and Poppy, my mum and my eldest daughter Sofia took the dogs ahead, while I wandered slowly down the estate’s path with the camera in hand.

Working the Path

As patches of light began breaking through the huge Scots pine trees lining either side of the path, I raised the camera and fired off a few test frames. A few observations immediately stood out:

• Speed & Computational Power: I played around with the OM-1 Mark II’s handheld High-Res mode, which is dramatically more usable than on the Mark I thanks to its much faster processing speeds.
• Depth & Sharpness: Thanks to the Micro Four Thirds sensor naturally yielding a deeper depth of field for a given aperture, I was happy shooting anywhere from wide-open at f/1.2 down to f/5.6, consistently getting tack-sharp photos with plenty of depth.
• Ergonomics & Viewfinder: The camera is exceptionally quick to operate and comfortable in my hands. In the high-contrast, bright patches of the evening, the 5.6-million-dot viewfinder made composition effortless.
• IBIS Confidence: In the dimmer sections of the path sandwiched between towering trees, I reminded myself of the camera’s brilliant image stabilization. It allowed me to consciously drop the ISO to base level, shooting at slow shutter speeds that would be impossible on most other systems.

I didn’t get any keepers along that initial stretch of the path, but the strict constraints of the prime lens combined with the lightweight, intuitive nature of the OM-1 Mark II did their job. I started feeling comfortable enough to actually look and see potential images again.

The Shot Through the Trees

As we walked further in, the path opened up to fields on both sides—tonight filled with sheep and their rather large lambs bleating away after some had been separated to have their coats sheared. The light was now raking across the landscape beautifully.

That’s when I spotted a stunning view: looking through the last couple of trees out to the fields beyond, with evening light casting long shadows, the hazy mountains of the lower Scottish Highlands in the distance, and crepuscular rays piercing through the sky.

I set up the composition to create a sense of depth, using the closest trees to frame the shot and create the feeling of peering through to witness the landscape beyond. Deciding this view was worthy of the camera’s High-Res mode, I grabbed a handheld 50-megapixel file before hurrying along to catch up with Sofia, Mum, and the dogs.

Walking toward the lake, I felt a little lighter than I have lately. The fresh air, gorgeous light, and seeing Sofia in good spirits playing with Poppy and Teddy were the perfect antidote to the stress occupying my mind. We sat for a little while to enjoy the warm evening and give the dogs a few treats before heading back up the path, returning the dogs, and heading home.

Bringing It Together in Lightroom

Back at home, I uploaded the photos to my iPad—which has become my preferred editing tool, as the Apple Pencil makes working in Lightroom incredibly intuitive. I waited until the next day to look through them.

Most were average at best, but one stood out: the shot through the trees.

It wasn’t quite right straight out of the camera. I cropped it into a 16:9 aspect ratio to remove a fence at the bottom of the image. The fence added nothing; in fact, it acted as a visual barrier, stopping you from immersing yourself in the scene.

Interestingly, I had been shooting the previous night almost exclusively in black and white—largely because I’ve been so impressed with the OM-3’s monochrome output and wanted to keep things simple. While the black-and-white SOOC jpeg was genuinely lovely with great contrast and atmosphere, the warm colors of the evening demanded a color edit using the parallel RAW file.

To get it looking how the landscape actually felt:

• I gently reduced the saturation of the green channel (as OM System files can sometimes make greens a bit too garish for my taste).
• I slightly increased the orange channel and generally warmed the image up.
• I pulled down the highlights in the sky to reveal subtle detail without killing the scene’s brightness.
• I used local masks for dodging and burning to build contrast in the foreground and deepen the sense of spatial depth.

I am genuinely happy with the result. It’s the first photo in a while that made me wish I had a printer set up. (My Canon PRO-4100 was one of the casualties of our move back from the Philippines, but if I ever get another large-format printer, this on a fine cotton rag paper will look fantastic.)

Seeing Light at the End of the Tunnel

The OM-1 Mark II didn’t just help me capture a shot I felt good about; it helped me push through a creative rut by removing friction from the process.

I could easily have sat at home, letting the recent dark clouds completely take over. But by stripping away complexity, getting outside, and observing the world again with a camera that doesn’t demand a fight, I finally found some light at the end of the tunnel.

Tonight, Sofia and I are travelling 2 hours to go and view some puppies, as she has been longing for a little furry friend for some time now. If we end up bringing one home with us soon, he or she will be coming out on a lot of adventures with us, and no doubt, will inspire me to continue getting outside and taking more photos.

Since October of last year, her well-being has dominated a huge part of my mind. We worried she showed signs of autism—there, I said it, I’m no longer skirting around it with vagueries like developmental concerns. That was our worry. The signs were all there, so we planned to move back to the UK where the healthcare and support networks are in place for children like Izzy. We sold all our belongings, I spent all my savings, and we moved halfway around the world.

I then spent the next several months setting up doctor appointments, health visitor assessments, and audiology assessments, and pushing my finances to the limit paying for a nursery placement to ensure Izzy got the structure that all the professionals—and my own sister, who has worked in childcare for over 25 years—said was essential.

Slowly, we started to see improvements: less tantrums, more interaction, more confidence. All that effort, all that sacrifice, and ultimately, it has been futile for reasons I can’t go into here.

So, in the last two weeks, I’ve really been struggling to produce any content for the website, or even pick up a camera with any meaning or intention. I’ll just be honest: I feel pretty flat and numb. Sofia is still here with me, and I know that I need to work, so after multiple attempts to get out with various cameras, I turned to the ones I often do when I hit creative ruts.

The Small-Camera Crutch

You see, it’s the smaller cameras—the ones that aren’t meant to be professional-level gear—that I tend to turn to when I want to remove all pressure to produce images of any note. My OM-3 is the epitome of this: it’s beautiful, small, lightweight, and still highly capable, but I can give myself the excuse that if I don’t produce anything decent, it wasn’t me, it’s partly the camera.

I know for a fact it is absolutely not the camera, but it’s a small mental crutch that often alleviates any sense of pressure and allows me to break out of creative ruts. It works either by simply relieving my own self-inflicted pressure to perform, or by having features like computational modes that spur me on to try shots I otherwise wouldn’t with heavier systems.

This week, I’ve been out with a camera several times. On Monday, I managed to get one shot that I had the confidence in to publish in my OM-3 and Nikon Zf article comparing the black-and-white modes.

Then on Wednesday, I went out with that same mindset for a walk in a beautiful location with my mum and the OM-1 Mark II: just enjoy the walk, the scenery, and the fresh air, and if you get any shots, great.

I failed miserably.

I had the 12-40mm f/2.8 II lens mounted—a good lens, still lightweight, so easy to carry. I was actively looking for shots, playing with the built-in ND filter mode, and yet, when I came home and looked at the photos, I honestly thought: I’m not publishing those, they’re rubbish.

Sitting Under the Dark Cloud

It’s now Friday, and unfortunately, my brain has completely failed me—not only in producing any photos, but even in thinking of a topic I can muster the interest to write about. A pretty heavy dark cloud is currently sitting over me in terms of inspiration and motivation to get out and work.

But I’m not going to let that stop me.

After years of pretty consistent stress, maybe I just need a bit of time to process everything, get used to the new circumstances, and let the creative process and inspiration slowly come back to me. If I keep getting out there, keep taking a camera through habit, and just keep looking, seeing, and pressing the shutter button, it will return.

Why am I writing this article now? Because it’s the most honest thing that I have to say right now. Out there, maybe some of you also deal with creative ruts, and perhaps by sharing this, it will help someone push through just as I have done in the past.

This one may take a bit more effort to come out the other side of, but I will. And when I do, I’ll be waiting here in Scotland, with Sofia, building something safe, secure, and welcoming for the day that Izzy returns.

And here are some of the photos I took this week. I guess it’s good to show them just to fight against the perfection we see projected everywhere these days. Failing is part of succeeding, and I definitely failed this week.

Update: I’m still trying to push through this period and got an image that I was happy with in a recent article.

Of course, you could shoot RAW and process the files as you like, where the full-frame sensor files will be slightly easier to edit, having on paper more dynamic range and softer tonal transitions. However, if you just want to take advantage of the excellent built-in black and white modes of these two cameras, is there a discernable difference between the two in terms of quality?

I shot both cameras in JPEG only, but on the files below I have matched them in Lightroom to get exposure as close as possible to make the test fair. Both cameras meter the same scene slightly differently, but I won’t go into that until later to keep the test below fair. I’ve also cropped the Zf file to match the 4:3 aspect ratio of the OM-3.

The weather was a mixture of sunshine with intermittent cloud coverage here in Perthshire, with strong contrast across the landscape.

I’m not going to label the two shots below so that you can take a look without introducing confirmation bias.

Disclaimer: Some of the links on this website are affiliate links, meaning at no additional cost to you, I may earn a commission if you click through and make a purchase. This helps support the site and allows me to continue producing free content.

Which one do you prefer? Do you see a significant difference?

In my shooting yesterday, I noticed a couple of things. The Nikon Zf’s Monochrome profile is slightly more punchy than the OM-3’s default MONO 1 profile in the overall exposure, giving darker, deeper blacks SOOC, but the midtones were a little flatter and exposed darker. When viewed in isolation, I think the OM-3 Mono 1 profile with some slight tone curve adjustments looks punchy, but next to the Nikon SOOC they looked less contrasty and brighter overall.

By adding a slight tweak to the tone curve in-camera via the color wheel on the OM-3, I was able to add a little contrast. I dialed in -2 shadows, +1 highlights, and +1 midtones, and that increased contrast. However, having now had a chance to look at the files back home and then push the JPEGs around a little bit in Lightroom, I’d bring the shadows down to -3 and put the midtones back to 0 for my next outing if I wanted to match the punchy output of the Zf SOOC without crushing blacks and ensuring I preserve the highlight detail.

In terms of detail, with both having roughly 20MP sensors, it was a tie.

In my opinion, both the Zf and the OM-3 output excellent black and white files, and both cameras offer the ability to tweak the straight-out-of-camera look to adjust to your taste and the subject.

I do not see a huge advantage to the full-frame sensor in the shots here or the thousands I have taken with the cameras over the years. There are definitely differences—for instance, the tonal gradations between shades of grey in the clouds on the Zf are fractionally smoother, but it takes zooming in to 100% in Lightroom or printing large prints of 20×16″ or more to see that difference, and in a blind test, I’m pretty sure a huge percentage of people wouldn’t bet their house on which file is which.

Of course, the Zf will offer about 1.5 to 2 stops better high ISO performance so it will be better in low light too. I see this in skin tones being more natural on the Zf once the ISO level starts to climb. But then it is possible with a fairly still subject to shoot the OM-3 in Hi-Res mode, which not only gives you more detailed files, it gives you better high ISO performance and skin tones. It’s a workaround and one that is not suitable to every situation, but it is an option.

If your subject is stationary, the OM-3 offsets the low-light performance of full frame almost completely with its incredible IBIS, which allows slower shutter speeds than any other non-OM System camera that I’ve ever used. With the Zf, I may get sharp shots down to 1/4 of a second handheld; with the OM-3, I’m comfortable at 1 second.

There is also the aspect ratio to consider. If you have a strong preference for one over the other, that can influence your choice, with the Zf’s wider 3:2 aspect ratio against the OM-3’s more square 4:3.

And of course, depth of field is different, with the Zf being more easily able to create shallow depth of field while the OM-3 naturally gives you more in focus for a given aperture. One is not better than the other in my opinion. For shots like these, the extra depth of field meant I could shoot the OM-3 at f/4 rather than f/8 with the Zf. On the other hand, for black and white portraits, that shallow depth of field of the Zf can be an advantage if you want to isolate your subject.

In terms of handling, I enjoyed both yesterday, but that has as much to do with my need to get out and have some peace as it does with the cameras. I could happily use either of these for my black-and-white work. The OM-3 had the 17mm f/1.8 ii attached and the Zf had the Nikon Z 35mm f/1.8 S on it. The Nikon felt considerably heavier, yet mounted on my Peak Design Capture Clip, the extra weight made little difference. The OM-3 was slung around my shoulder on a Peak Design Leash camera strap and felt incredibly light.

Both lenses are available here:

Nikon Z 35mm 1.8S

OM System 17mm 1.8II

A couple of points on handling. The Zf allows you to customize the control ring on the lens to act as an aperture ring. Even though it’s clickless, I still prefer it over using the command dials on the OM-3. However, the front command dial on the Zf which you can also use to change your aperture is awkwardly placed, and on more than one occasion I flicked the on/off switch instead of changing the aperture. Of course, I’d get used to that if I wasn’t swapping between cameras so much, but it’s worth noting.

The OM-3 dials just feel better.

So which camera is ultimately better for black and white shooters?

Like always, it really depends on several things: how much weight are you prepared to carry, how much money do you want to spend, and what is your subject and output.

If I was shooting black and white portraits and quality was my ultimate goal, I’d go with the Zf.

See the latest price for the Nikon Zf here

If I was shooting general photography, often landscapes, and I wasn’t going to be printing larger than 30×20″, then I think the OM-3 makes for a more fun and enjoyable camera to shoot with, and it’s easier to get good results with its deeper depth of field and computational modes.

See the latest price for the OM System OM-3 here

In terms of image quality, the Zf is the winner in my opinion, but the differences are nowhere near what the 4 times larger sensor would have you believe. Whether those differences are worth it to a photographer are absolutely subjective.

In my black and white photography projects here in Scotland, I will shoot whichever camera suits the day and subject, but after yesterday, I’ll never feel worried that I’m somehow missing out by using a Micro Four Thirds sensor. I’ll leave you with the final edited photos from yesterday.

Last updated: May 20th 2026
This article was updated on May 20th 2026.

I had planned to go out today with my long lenses and scout a location that looks promising for photographing mad March hares. It’s not far from where I live, and on a local walk last week I spotted several hares in fairly close proximity to each other. It immediately struck me as a place worth returning to with a camera.

Today’s weather had other ideas.

This morning I woke up to a text from Sofia’s school letting parents know that the car park had flooded after heavy rain. It’s also been very windy here lately. As we sat in the car, the wind buffeting it quite strongly, I still had the urge to go and scout the location. But in weather like this I’m unlikely to get any usable photographs.

That’s when my thoughts turned to the OM System OM-1 Mark II. The OM System OM-1 Mark II carries an IP53 weather-sealing rating, meaning it’s designed to keep working in heavy rain, dust and cold conditions — exactly the kind of weather you often find here in Scotland.

I’ve been shooting with Olympus — and now OM System — cameras for years. I’ve had them out in monsoon rains and Hebridean storms, they’re about as rugged and weather sealed as cameras come.

Combined with its light weight and easy handling — even with gloves on (actually better than the original OM-1 in my opinion) — it makes for the perfect grab-and-go camera on a walk like this.

I wasn’t heading out with a bag full of gear. This was just a short local stroll in some pretty miserable weather, with the camera slung over my shoulder on a Peak Design Slide Lite strap.

I walked out of my house and headed up a small country lane towards some nearby farmland and a narrow path that winds through several wide, open fields.

I’d already put on my walking gear, waterproof jacket and boots before stepping outside, as the rain was still lashing down and the wind was ripping across the fields. This particular path has a few old trees lining it, with patches of dense bushes between the path and the surrounding farmland — exactly the kind of cover where I hoped to see the hares again.

It could be a fantastic location. The fields offer open views, while the bushes provide just enough natural camouflage to approach quietly.

By the time I reached the path my boots were already coated in mud. It had rained throughout the night and there was no sign of it easing. It seemed I was the only person out walking today. Maybe I’m a little crazy, but I love this kind of weather — as long as I’ve got the right outdoor gear on.

The trees were being pushed around by strong gusts of wind as the rain continued to lash down. I swung the camera around and unclipped it from the strap. It was already covered in rain, but as I’ve always found with OM System cameras, the OM-1 Mark II paired with the 12–40mm f/2.8 PRO II didn’t bat an eyelid.

I switched it on and took a few photos along the way.

Within ten minutes, a couple of hares in a field to my left suddenly bolted. They had spotted me before I even noticed them. I slowed my pace and continued more carefully as I neared the area where I hoped to photograph them.

As I turned the corner, a small hedgerow hiding my approach, I saw them.

Sheltering in the lee of a line of hedges were three more hares, hunkered down together trying to escape the worst of the wind and rain.

They were quite close to each other and well within range of both my OM System 100-400mm II and my Nikon Z wildlife kit. This particular spot looks really promising for dawn and dusk shoots. It’s close enough to my house that I can return several times a week, and it offers natural patches of cover from which to photograph the hares without disturbing them.

I sat and watched them quietly for five minutes before moving on, not wanting to force them out into the wind and rain.

As I continued along the track the wind increased, shaking the bushes that lined the path, sometimes violently. I struggled to handhold shots below about 1/25 second, which for the OM-1 Mark II is unusual. The wind was simply ripping across the fields and buffeting me too hard.

One thing about the OM-1 Mark II’s weather sealing is that it simply works. It’s such a rugged little camera that I had no hesitation placing it down in the soaking wet grass when I wanted to frame a shot.

By now my jacket and trousers were well covered in rain, although the water was still beading nicely off the fabric. I cinched in the hood on my Keela Munro jacket and carried on a little further, the OM-1 Mark II in hand, ready if something caught my eye.

But today wasn’t really about getting photos.

It was about having the right gear that allows me to get out into nature, whatever the weather — and that includes having a camera I can rely on when Scotland decides to throw its worst at it.

For me, this is exactly where cameras like the OM-1 Mark II — and the OM-3 — really shine. Small enough to take anywhere, rugged enough to handle the worst Scottish weather, and capable enough to capture the moment if the opportunity appears.

When I woke up this morning and saw the weather, I almost immediately knew I’d be taking the OM-1 Mark II out with me. It’s a camera whose weather sealing I trust to handle just about anything Scotland can throw at it — whether that’s rain, snow or sand.

On the walk back I was wrapped up in a hat, fleece, waterproof jacket and trousers, along with gloves. The little OM-1 Mark II was simply hanging from the camera strap or sitting in my hand ready to shoot. It never complained once. No issues, no faults, no problems.

When I got back to the house I just wiped it down and put it on the table next to me as I started writing this article. It looks exactly as it did before I left — although I really should clean the lens properly after having to wipe it with my gloves out in the rain.

As for the hares, I’ll be returning to that spot often over the coming months, following their lives and hopefully photographing and filming them along the way.

OM System OM-1 Mark II Weather Sealing FAQ

From long-exposure tricks to the best IBIS in the business, OM System cameras have delivered some incredible tools over the years — many of which users of other brands may not even be aware exist.

The latest of these computational modes include built-in software-created ND filter and ND grad filter effects that combine multiple exposures to simulate the results of physical ND and ND grad filters. These two intrigue me the most, because if they work as advertised they could allow me to leave physical filters at home — along with my tripod — while still retaining the creative ability to produce images as if I’d bothered to carry the full filter kit, adapters, and rings.

So today I took the OM-3 out on the same walk where I shot the X100VI earlier in the week, to a local park where the River Earn winds through the landscape. With the OM System 12–40mm f/2.8 II attached, I wanted to put the Live ND filter to a proper test — more thoroughly than I have before — and see whether it can genuinely replicate physical filters, or whether there are trade-offs that would rule it out for serious use.

How I tested Live ND on the River Earn

I wanted to test the OM-3’s ND filter on moving water, so I returned to my local walk along the banks of the River Earn. At this time of year the river offers plenty of fast-flowing water, with boulders scattered throughout that create eddies, ripples, and varied currents. I was hoping these conditions would let me pick out patterns and texture in the water in the same way I normally would using a traditional physical ND filter.

With the 12–40mm f/2.8 II attached — and relying on the OM-3’s excellent IBIS — I felt confident I could shoot hand-held down to around a one-second exposure while keeping the important elements sharp. My aim was to see whether I could reliably create that silky water effect without ugly artefacts appearing in the images.

As I crossed the first bridge, I fired off a couple of standard frames for reference and then switched the OM-3 into shutter priority mode, as Live ND only works in this mode or in full manual. The initial shots were wide-angle views of the river as it flowed quickly beneath the bridge.

I tried every setting from ND2 (1 stop) through to ND64 (6 stops) and found that I could comfortably hand-hold the OM-3 down to around a one-second exposure. The six-second exposure I attempted with the strongest ND64 setting was ambitious and ultimately a step too far.

One thing I really like about the OM-3 compared to my OM-1 Mark II is that OM System have given direct access to the computational modes via a dedicated button on the back of the camera. Activating — and cycling through — the different modes is quick and intuitive, which means I’m far more likely to experiment with them in the field.

I moved on, trying to keep up with Sofia who was racing ahead, as I knew there would be better opportunities further up the river. As I wandered along the sodden banks, I noticed a large rock sitting roughly in the middle of a fast-flowing section. I zoomed in to isolate it and took a test shot at 1/13 sec.

Below you can see the standard image, followed by versions using the ND4 and ND8 effects. Even at an effective exposure of 0.6 seconds, the rock remains tack sharp.

In my view the best result came from the ND8 setting combined with stopping the lens down to f/8, which produced a one-second exposure. The central rock stayed sharp, and I preferred the pattern and flow of the water at this length of exposure — much beyond one second would have created too much movement and too little detail.

More importantly, after examining the file at 100%, the silky effect and texture of the water looks — to my eye — indistinguishable from what I would expect using a physical ND filter. I can’t see random artefacts or unnatural areas in the frame, and the tangible, textured look of the water is exactly how I like it to appear, particularly for printing on fine art matte papers.

What’s the purpose of the ND filter?

So why would you actually want to use this feature? I think the images below make the case clearly.

The first shot was taken without any ND effect at 1/40 sec. The water is flowing naturally, but to my eye it creates a slightly disorientating and nervous image. You can’t focus on anything except the rushing blur of water, and the whole scene feels un-sharp — even though the rocks are, in fact, tack sharp.

Contrast that with the next photo, shot using the ND4 effect at an effective shutter speed of 1/4 sec. You can still clearly sense the movement and energy of the river, but it’s no longer visually distracting. That uneasy, jittery feeling has gone, replaced by a calmer atmosphere that allows your eye to wander around the frame. The image feels sharper overall, yet when you examine the rocks in both photographs, they are equally sharp in each.

Again, when I examine the image made with the OM-3’s computational ND mode, I can see no problems — no strange effects or artefacts — it genuinely looks as if it had been shot with a physical ND filter.

One thing to keep in mind when chasing this kind of look, whether you’re using Live ND or physical ND filters, is that it often takes many attempts to get a truly satisfying pattern in moving water. That wasn’t really my goal today. I was more interested in whether this computational mode could deliver results I’d actually be happy with — and, crucially, results I could trust when I do decide to spend the time hunting for that perfect flow.

Based on what I saw on this walk, I’m very confident that it can.

As we neared the end of our walk — and Sofia’s patience with my photography was clearly running out — I took one final shot of a beautiful section of the river using the ND4 effect. Once again, the OM-3 didn’t let me down.

Frequently Asked Questions

This week was a wake-up call. The moment there was even the possibility of something being wrong with Isobelle, my first instinct was clear and immediate: get her back to the UK. That thought hit me harder than I expected. If that’s my natural reaction in a moment of fear, then that instinct is probably the truth I need to follow — whether there’s an issue or not.

It pushed me into the bigger questions I’ve had in the back of my mind for years. Is this really the best place for my daughters to grow up? Does it offer the same education, healthcare, social protections, and opportunities as my home country? And in the long-term, when I’m not around to protect them, am I comfortable with the idea of them being here without me?

When I finally sat with those questions, the answer was no.

But returning to England doesn’t feel right either. So my thoughts drifted north, back to Scotland — a place I know well from my years as a landscape photographer. A place of endless beauty and a lifestyle that fits us. A place I once thought I had outgrown, but that now feels like the only place I ever truly belonged.

And naturally, that line of thinking brought me back to my cameras. Back to the gear that actually works in Scotland — in the wind, the cold, the rain, the brutal winters. Which system can keep up with that? Which camera could help me return to my roots, but with new eyes after a decade on the other side of the world?

But as soon as the idea of Scotland started to feel real, all the memories from the last few weeks came rushing in. I keep thinking back to the night I was kneeling over Sofia in the dark, protecting her as the house shook from a 6.9-magnitude earthquake — just days before we were clearing the yard and bracing for a typhoon that was heading straight for us. And then, only days later, a super typhoon tore through Luzon. It missed us this time, thankfully, but what if next time it follows the same path as Odette and rips right through our house?

Huddling down in the bathroom — our designated “safe room” — is a bonding experience, but not the sort I want my kids to grow up with. The uncertainty, the fear, the what-ifs that run through your mind… all of it has added fuel to the same conclusion: it’s time to think seriously about Scotland.

But as that idea became clearer, I hit the same wall I’ve hit before — the UK immigration system. Since the last time I looked, the income requirements have increased again. Suddenly I’m questioning whether I even earn enough to bring my own wife legally into the country. And even if I do meet the threshold, what will they ask for this time? How many hoops, how much proof, how many fees? It’s emotionally draining. And financially? Even worse. Which raises its own question: can I even afford to give my family a decent standard of living in the UK anymore?

This isn’t a move you make quickly. It will take time, planning, and a level of financial stability I’m still building. So while the paperwork and numbers sit in the background, I go back to the things I can control: my work, my photography, and the gear I choose to rely on.

And if I’m genuinely preparing for a life in Scotland again — real seasons, real weather, real cold — then the camera matters more than ever. That’s where the Nikon Z8 comes in. Not as a luxury, or something to show off online, but as a tool built for the kind of life I’m moving toward. It’s one of the reasons why I said I’d pick it when I compared the Nikon Z6III against the Z8. A camera that can stand up to Scottish winters, to low light and endless rain, to long hikes and long drives. A camera I can trust if and when this next chapter becomes real — and potentially to me finally fulfilling a lifelong dream of doing more wildlife photography. I’ve already been using some of the best accessories for the Z8 and it’s made it very close to my perfect camera.

Why the Nikon Z8 Feels Right for Scotland

In my dry cabinet right now sit one Panasonic, two OM System bodies, three Ricohs, three Fujis, and two Nikons. Yes, I know — it’s a lot. But each has its place, and I’ve always believed in using the right tool for the job.

The question is: which tools make sense for Scotland? When I really sit and think about trekking and wild camping in the Highlands — the kind of subjects I’ll shoot there — the answer becomes clearer. Landscapes. Stories of the people. Wildlife. And of course, documenting my family. These are things incredibly close to my heart, but they’re also quite different from the travel photography I’ve been shooting with Fuji for more than a decade.

Having spent years in the Outer Hebrides, I know firsthand how beautiful — and how brutal — Scottish weather can be. All the seasons in one day. Sudden downpours. Biting winds. Salt spray. Low, moody winter light that can go from dull to breathtaking in seconds. That harshness is what makes the light so magical — but it demands gear that can stand up to it.

OM System definitely jumps up the list thanks to its light weight for hiking and its best-in-class weather sealing as I mentioned in my OM-3 review. But when I want full-frame for Scotland, the choice is obvious. Nikon. More specifically, the Z8.

The Z8 is built like a tank. Weather-sealed at every critical point — seams, buttons, lens mount — everywhere that actually matters. I know that when the clouds roll in and the temperature drops, the Z8 won’t flinch. When the light dips for those quiet Scottish sunsets, that full-frame sensor will pull subtlety and depth out of the scene. It’s a camera that can handle freezing cold, driving rain, and unpredictable weather without needing to be babied.

And then there are the lenses. Nikon’s zooms are among the best in any system. And yes — although I’ve been a prime shooter across Southeast Asia for years, Scotland is different. In a city, a bag of primes makes sense. But when you’re hiking up mountains, across ridgelines, through glens, a great zoom is worth its weight in gold. You want reach. Flexibility. Speed. You want to react to the land without constantly changing lenses with numb fingers.

What makes this even clearer is how these two systems — Nikon and OM — align perfectly with another direction I’ve wanted to move toward for years: wildlife photography. Both offer fast autofocus, pre-shot modes, high speed burst rates, incredible handling, and, most importantly, some of the best wildlife lens options available today. If Scotland does become home again, these are the systems that will let me finally explore that lifelong dream properly — whether it’s deer in the Cairngorms, otters on the coast, or birds in the Hebrides.

I can already see the kit that makes the most sense for the harsh and beautiful realities of the Highlands. And I know that when I eventually pack my backpack and tent and head into the glens, the Nikon Z8 and OM-1 Mark II will almost inevitably be the pairing I reach for most — the two systems that feel built for that landscape, that weather, and the kind of photography I’ll be doing.

The only question that remains is whether, at 44, I’m still built for it.

But maybe that’s exactly the point. Maybe this next chapter isn’t about being the same person I was in my twenties — racing up mountains, chasing storms, living out of a rucksack without a second thought. Maybe it’s about growing into a version of myself that’s quieter, more intentional, more grounded. A version of me that chooses Scotland not for adventure, but for stability. Not for escape, but for home.

In my twenties, I always felt there was a whole other world out there — outwith Scotland, as they say — something I needed to see, something I needed to live. Maybe it would be better, maybe it would be worse, but I needed to find out for myself. That curiosity eventually led me to the Philippines, and I’ll always have a soft spot for this country. It’s the place that gave me two beautiful daughters, that changed who I am, that made me a father and showed me that family brings a deeper joy and contentment than anything else ever could.

But it also confirmed something important: I’m an introvert at heart. Not in a reclusive way — just someone who finds that constant social noise drains me, while peace, nature, and wildlife recharge my batteries. And after a decade here that has been rewarding but also highly turbulent, I’m ready for a different kind of energy. I’m ready to have my batteries fully recharged by the Scottish wilderness again.

And as much as this move would be about me finding a place that feels right again, it’s really about something bigger than that — what I want my daughters to grow up with.

What I Want My Daughters to Grow Up With

If I could choose their environment, it wouldn’t be shopping malls, traffic, or screens. It would be land. Nature. A life where walks, wildlife, and beauty are on their doorstep. A life away from constant phone use and social media, where they can grow a love and appreciation for the natural world simply by living in it.

More than anything, I want them to grow up in a place where safety is a given — where we’re not bracing for earthquakes, typhoons, or the next unexpected disaster. But even beyond physical safety, the absolute priority for me is opportunity. I want them to feel free to choose their own paths: to go to university if they want to, to shape their careers, to follow whatever sparks their curiosity. I want them surrounded by aspirational women — teachers, role models, leaders — who show them what’s possible and encourage them to dream without limitation.

And after a lot of reflection, I’ve realised that we’ve simply outgrown our current home. As a family, we need a new environment — one that gives the girls stability, possibility, and space to become who they’re meant to be. And honestly, I can think of no better place on Earth (and I have looked at all the options) than the home of kilts, haggis, and deep-fried Mars bars.

In the end, this isn’t really a story about cameras, or countries, or even weather. It’s about clarity — the kind that only arrives after years of turbulence, uncertainty, and being forced to confront what truly matters. This week shook something loose in me. The earthquakes, the storms, the health worries, the constant what-ifs — they all pointed in the same direction. Toward home. Toward Scotland. Toward a life that feels sustainable, intentional, and aligned with who I’ve become.

Photography has always been the way I make sense of things. It slows me down, anchors me in the moment, and reminds me why I’m doing all of this in the first place: to build a life worth documenting. And whether that’s with the Nikon Z8 slung over my shoulder in a Scottish winter, or with the OM-1 Mark II on a long hike with the girls, the camera is just the tool. The real story is the life behind it.

There’s still a long road ahead — paperwork, planning, saving, and navigating a system that doesn’t make it easy. But for the first time in years, the path feels clearer. And maybe that’s all you can ask for. Not certainty, just direction.

And if the next chapter of our lives begins somewhere between the glens, the wildlife, and the wind-carved hills of Scotland… then I think we’ll be exactly where we’re meant to be.

As you can see from my website, I’ve been shooting with Micro Four Thirds cameras for a long time. I started out with the original E-M5 and used the E-M5 II as my only camera for more than a year. Along the way, I felt the E-M5 line lost its way a little — from the Mark III through to the OM-5, the build and feel just weren’t quite as premium as the early models.

I was also an avid user of the Pen-F and absolutely loved that camera. In a moment of stupidity, I sold it — and I’ve been pining for a replacement ever since, though the used prices are far too steep for my taste.

When the OM-1 arrived, it felt like the first genuinely significant leap forward in years — a proper step up rather than a mild refresh. So when the OM System OM-3 was announced, it immediately caught my attention: a compact, beautifully styled body that seemed to merge the best qualities of the E-M5 II’s build, the Pen-F’s charm (even if not rangefinder-styled), and the internal power of the OM-1 and OM-1 Mark II.

That combination was enough to have me ordering it straight away, along with a few choice lenses. But after owning it for a few months now — does it really live up to that promise? The fact that it features highly in my best cameras for family photography article should be a farily big hint.

Although this camera uses a Micro Four Thirds sensor — a format I’ve shot with for many years — I’m not approaching this review from that narrow worldview. I also own and use APS-C, full-frame, and even medium-format systems, so my judgment of the OM-3 comes from experience across all of them, not just how it stacks up against its immediate peers. These days I shoot mostly travel, street, and family work, but I started out as a professional landscape photographer — and that background still shapes how I see cameras and what really matters in the field. I recently tested the OM-3’s black and white mode against the Nikon Zf. You can see the results here.

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Body & Handling

When I first picked up the OM-3, it immediately felt like a continuation of my old E-M5 II — solid, dense, and far more premium than the current OM-5-series bodies. The all-metal construction gives it a reassuring sense of quality in the hand, while the faux-leather wrap adds both grip and a refined look. Every button and dial offers firm, tactile feedback. Nothing on the OM-3 feels cheap.

OM System say the design draws inspiration from its classic film SLRs, and I believe them. It’s a very stylish camera — possibly even more beautiful than the Pen-F. The body feels slightly wider than expected, yet remains compact enough to be a perfect everyday-carry with the right lens attached. There’s no front grip at all, just a modest thumb rest on the back, yet the ergonomics still work thanks to the camera’s balance and well-placed controls, especially with lenses like the OM 17mm f/1.8 II.

Every button and dial feels well damped, with thoughtful detailing throughout. For instance, most buttons are slightly raised for easy access, while the Delete and Playback buttons sit recessed so you don’t accidentally hit them when shooting — a small but clever design choice. My only minor gripe is the Record button (which can be reassigned as a function key); it sits awkwardly close to the rear dial and can be tricky to reach quickly.

New on the OM-3 is a dedicated CP button on the rear, giving direct access to all the computational modes (I’ll cover those later). And, in a welcome nod to the Pen-F, the Creative Dial has returned on the front — letting you switch instantly between Color, Mono, Art Filter, and CRT (Color Creator) modes.

I wrote an eBook about using the Creative Dial on the Pen-F back in 2016, and it remains one of my favorite design ideas in any digital camera. It gives you genuine control over your color output. The OM-3 offers four Mono profiles styled after classic films (including a Tri-X-like look) and four Color profiles that mimic different film tones, plus a CRT mode for manual color tinting.

While I usually shoot RAW with most cameras — even my Fujis, despite their excellent film simulations — the OM-3’s in-camera control makes JPEG shooting far more rewarding. You can fine-tune each Mono and Color profile using the color dial and curves, then add vignetting, contrast, and sharpness. The color wheel even allows ten levels of saturation adjustment per hue, giving you a huge range of creative control directly in-camera.

The OM-3 essentially takes the internals of the OM-1 Mark II and dials them down slightly, delivering nearly all the same shooting options in a smaller, lighter, and more stylish body — one that’s better suited to street, travel, and everyday photography.

What you don’t get is the OM-1’s superb EVF. The OM-3 uses an older 2.36-million-dot panel that’s perfectly usable but certainly not class-leading. In fact, among all the cameras I own, it’s probably the weakest viewfinder — yet still clear enough for practical use. The OM-3 also drops the dual card slots, which may be a deal-breaker for some. Personally, I’ve used SanDisk Extreme and Extreme Pro cards for twenty years without a single failure, so I’m not concerned. This isn’t a workhorse camera; it’s more of a guilty-pleasure camera.

Overall, OM System has done an excellent job with the design. It feels substantially smaller than the OM-1 Mark II, and when paired with lenses like the 17 mm f/1.8 II, it belongs in an entirely different category — almost Fuji X100VI territory in size. With larger lenses like my 25 mm f/1.2 PRO, I do prefer adding an L-grip extension for balance and comfort, but that’s the trade-off for such a compact and stylish body. You can see the best accessories for the OM-3 here.

Image Quality & Sensor Performance

This is the section where a lot of people will tell you that Micro Four Thirds isn’t good enough. It’s also the section where I’ll say, good enough for what?

This is where it helps to ignore the online noise about sensor size and instead think about what you actually shoot — and what you plan to do with your images afterwards.

The OM-3 uses the same stacked 20MP Micro Four Thirds sensor found in the flagship OM-1 Mark II. It offers noticeably better performance than older generation Micro Four Thirds sensors, both in high-ISO handling and in the overall “look” of the files. Yes, it’s still weaker than larger sensors in certain areas — tonality isn’t quite as natural, and once you hit ISO 3200 and above, noise becomes more visible compared to APS-C and full-frame cameras.

But the difference isn’t as dramatic as many make it out to be. We’re talking roughly two-thirds of a stop from APS-C, which in most real-world scenarios isn’t a deal-breaker. I’m happy shooting the OM-3 up to ISO 3200 and will push to 6400 if needed, as long as I’m not printing larger than A3+. And with the AI-powered noise reduction now available in Lightroom and other editors — plus the fact that I actually like adding a touch of grain these days — it’s rarely an issue unless you shoot fast-moving subjects in low light.

Olympus has long been praised for its color science, and the OM-3 keeps that tradition alive with crisp, vivid, and realistic colors that still look natural. I’ll admit that while I like the Natural color profile, the others don’t quite fit my style.

Dynamic range is more than sufficient for typical shooting scenarios, allowing you to lift shadows in post without introducing excessive noise at base ISO. I remember my original E-M5 showing faint noise in blue skies even at base ISO — those days are long gone.

Yesterday, I was sitting in my living room looking after my youngest daughter, Isobelle, with the OM-3 and 25mm f/1.2 PRO in hand. I fired off a few quick shots of her in her stroller at f/1.2. When I looked at them later, there was a painterly quality to the images — especially around her eyes. The fine noise almost resembled brush strokes, and as long as I didn’t zoom in too far in the viewfinder, the photos looked stunning. Not the compositions — these were just casual shots — but the rendering, tonality, and color had a certain magic to them that really caught me off guard.

Bottom line: unless you’re shooting extremely high-contrast landscapes or movement in dark night scenes, the OM-3 performs admirably. For street and travel photography, I have no hesitation using it exactly as I would any of my other systems. The images may look different — but all sensor sizes do, the question is really about whether the camera does what you want it to do and whether you will be happy with the output for your actual needs. Yes, my Fujifilm GFX100S is better, of course it is, it’s $10,000 worth of camera and lens, if it wasn’t better I’d be pretty upset, but that doesn’t mean anything less is useless. The OM-3 is more than capable of producing beautiful, professional-quality results in most scenarios.

Autofocus Performance

As has been the case for a long time, OM’s Single AF mode is fast, snappy, and accurate. When paired with lenses like the 12–40mm f/2.8 PRO, 17mm f/1.8 II, or my 25mm f/1.2 PRO, it’s silent and as quick as you’ll ever need for everyday photography.

Switch over to Continuous AF, and that’s where you really see the benefit of the stacked sensor. Since the original OM-1, C-AF performance on OM System bodies has improved dramatically — and the OM-3 continues that trend. I tested it tracking Sofia as she ran down the beach in Moalboal and was genuinely impressed: every frame was sharp, and it held focus on her effortlessly. That’s something the X100VI would have struggled with.

I’ve also shot the kingfishers that live in our garden using both the OM-1 and OM-1 Mark II, and they’ve been fantastic for that kind of fast, unpredictable movement — darting off a wall to snatch insects and returning to feed their young. The OM-3 essentially offers that same level of autofocus performance, and when combined with Pro Capture, it makes photographing fast-moving subjects remarkably easy — even for someone like me, a wannabe wildlife photographer without the patience to sit in a hide for hours.

If I had to place the OM-3’s AF performance in context with my other cameras, I’d say it sits comfortably above the Fuji X100VI, above the X-T5, and possibly even ahead of my Nikon Z6 III for human face and eye detect AF — though the Nikon still wins for pure subject-tracking accuracy.

In short, it’s very good. Unless you absolutely need that last 10 percent of tracking performance (and are willing to pay 100 percent more for it), the OM-3 will serve you extremely well.

Computational Features

This is where the OM-3 — and OM System cameras in general — really shine. No other system offers such a wealth of computational features that are genuinely useful in the real world.

The OM-3 continues this tradition with Handheld High-Res Shot, producing 50MP files that not only offer more detail but also noticeably cleaner color and lower noise. What many people overlook about this mode is exactly that — it’s not just about resolution; it’s also about improved image quality. It’s not perfect, of course. Any movement in the scene can trip it up, and while the files are larger, the extra detail isn’t always obvious. Still, when you want to squeeze every bit of quality out of a scene, it’s a genuinely worthwhile feature. There’s also a tripod mode that delivers 80MP images, but as I didn’t buy the compact OM-3 to start lugging a tripod around again, I’ve left that one alone. It worked well enough on my older Olympus cameras years ago.

One of the most exciting features that first drew me to the OM-1 — and remains a highlight here — is the in-camera ND filter mode. It combines multiple frames to simulate between one and six stops of neutral-density filtration. When I first tried it, I hoped it would mean I could leave my ND filters at home and still get long-exposure shots at waterfalls or by the ocean. It does exactly that. The results look natural, and yes — I genuinely no longer carry ND filters when I’m shooting OM System cameras.

The OM-3 also adds ND Grad simulation, which works in a similar way. You can choose up to a 3-stop ND grad, and select between soft, medium, or hard transitions. The front dial rotates the angle of the filter in larger increments, while the rear dial handles fine adjustments. The up and down pad buttons move the transition point. It’s an incredibly well-implemented system — fast, intuitive, and genuinely useful. Thanks to the OM-3’s processing speed, setting up and capturing a long-exposure shot like this takes seconds rather than minutes, so you actually use it instead of ignoring it.

For anyone new to OM System, the OM-3 includes all the classic computational tools too: Live View, Live Bulb, and Live Composite — long-exposure aids that show you a preview of the image as it’s being exposed, helping you nail the shot without trial and error. There’s also in-camera HDR (which I avoid, as the results are pretty awful), Focus Stacking with compatible lenses, and Focus Bracketing that works with any lens if you prefer to merge in post.

Combine these modes with what is still the best in-body image stabilization on the market, and the OM-3 becomes far more than just a compact camera with good image quality and autofocus. It’s a complete, self-contained photographic system.

You no longer need a tripod, ND filters, graduated filters, long-exposure apps, or remote shutters. Just grab a spare battery, head out, and shoot whatever subject you want — in any light and in any weather. Thanks to its IP-rated sealing, the OM-3, like the OM-1 Mark II, is a camera that truly lets you travel light and still do everything. It’s reached the point where these OM bodies are fully self-sufficient camera systems.

Everything Else That Actually Matters

The OM-3 uses the larger BLX-1 battery from the OM-1 Mark II, rather than the smaller pack used in the OM-5 series. Battery life is solid and about what I’d expect — I can comfortably shoot an entire day on a single charge. That includes an hour either side of sunrise and sunset, plus casual shooting throughout the day.

It also supports USB-C charging, which for me is non-negotiable now. I won’t buy a camera without it.

One of the things I’ve always respected about OM System is that they’re the only manufacturer to actually give their cameras an official IP rating. The OM-3, like the OM-1 Mark II, is IP53-rated, meaning it’s more robust than anything else in its class. I’ve trusted OM System cameras in everything from Scottish blizzards to Philippine monsoons, and they’ve never let me down.

The OM-3 also uses the same newer-style menu system that OM says is exclusive to their stacked-sensor models. It’s far easier for newcomers to navigate, logically laid out, and crucially, it actually tells you what each option does — and why certain ones are unavailable. It’s one of the better menu systems out there, though like any, it just takes a little time to get familiar with.

As for the touchscreen, I never use them. I think I swiped an image in playback once — it worked.

Conclusion

The OM-3 is a camera that will suit travel and general photographers who want a compact system and don’t feel the need to bring along the kitchen sink in accessories. Its small, well-balanced form factor, combined with the enormous range of Micro Four Thirds lenses, means you can confidently tackle just about any subject without feeling weighed down.

It’s a beautiful camera — one that’s a genuine pleasure to pick up and shoot with. The computational modes make it easy to experiment, whether you’re exploring macro work, long exposures, or creative color profiles, all without needing to buy specialist gear.

Yes, there are cameras that will give you technically better image quality, more subject isolation, or more prestige with the “cool kids.” But there are very few cameras today that are as enjoyable to use as the OM-3 — and that matters just as much as sensor size. Because ultimately, this is the kind of camera you’ll actually pick up, take with you, and use. And that, more than anything else, is what makes it great.

I’ve owned and shot with a huge variety of Micro Four Thirds lenses over the years — everything from the tiny Olympus 9–18mm (which I used while shooting for travel companies up in the Outer Hebrides over a decade ago) to most of the modern PRO lenses.

Jump to the Lenses

When I came back to Micro Four Thirds recently with the OM-3, I did so for a couple of reasons. First, I simply enjoy using Micro Four Thirds cameras for travel. The OM-3 is also among the best cameras for taking photos of family.

The computational features, size, and weight mean I can leave the tripod and filters at home and just enjoy making photos. These cameras are rugged, weather-sealed, and the lens lineup is fantastic — from tiny pancake primes to super-telephoto zooms. Modern Micro Four Thirds image quality is excellent, easily good enough for 30×20″ prints, and with the right lenses, even low light performance is more than acceptable for most situations. The OM-3 is part of a new wave of system cameras that make more sense for travel than compacts, and I’ve compared it alongside other interchangeable-lens travel cameras in my dedicated 2025 guide. Click here for my full OM System OM-3 review.

Because of that philosophy, I deliberately kept my OM-3 kit small and only picked up three lenses to start with — enough to cover 90% of my needs without weighing me down. If you prefer to keep things even simpler then my best compact cameras article will be of interest.

Having used most of the Panasonic and Olympus/OM System lineup at some point, this article will break down what I think are the best lenses for travel photography with the OM-3. Everyone’s style is different, so feel free to swap things out — but one of the joys of Micro Four Thirds is that you can pack a complete kit for landscapes, street, portraits, and telephoto without breaking your back or your budget.

I’ve included affiliate links to all the lenses and have also put together the kits for you on Amazon to make it easy to find all the items in one place. If you click through those links and buy any items then I will earn a small commission for which I am very grateful. So thank you to everyone who uses them. It is literally the only way that I can afford to keep this site going.

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Olympus 12–40mm f/2.8 PRO II – The Ultimate Travel Zoom

I’ve used a lot of standard zoom lenses over the years — from basic kit zooms to Panasonic’s 12–60mm Leica and the 12–35mm f/2.8 — but the one I always come back to is the OM System 12–40mm f/2.8 PRO II.

It offers excellent image quality, staying sharp from wide open across the entire zoom range. The 24–80mm equivalent range covers almost everything I shoot while traveling — landscapes, portraits, and plenty in between. While many photographers like going ultra-wide for landscapes, I’ve found 24mm equivalent wide enough to capture the scene without introducing too much distortion.

The constant f/2.8 aperture is a big advantage, letting me shoot longer in low light before switching to a prime, and it offers just enough subject separation at the long end to handle portrait duty. It also focuses really close, so gives the ability to play with macro shots. The build quality is superb, with a solid feel, smooth focus ring, focus clutch, and reliable weather sealing. It’s a little bigger than the 12–45mm f/4 PRO, but still balances beautifully on the OM-3 and OM-1 Mark II and is far smaller and lighter than equivalent full-frame lenses.

Why I Choose It Over Other Options

Some people prefer the OM System 12–100mm f/4 PRO as an all-in-one travel zoom — and it’s excellent — but I find it just a little too large to carry all day on the OM-3. The 12–45mm f/4 PRO is another great alternative if f/2.8 isn’t important to you — it’s lighter and cheaper while still delivering most of the same optical quality.

For me, the 12–40mm f/2.8 II strikes the best balance: compact enough for travel, fast enough for low light, and optically excellent. If I could only have one lens for Micro Four Thirds, this one would be at the top of my list.

OM System 17mm f/1.8 II – The Perfect Everyday Travel Prime

I picked up the OM System 17mm f/1.8 II not because it’s the absolute best lens in the lineup, but because it feels like the perfect match for the OM-3. It’s incredibly small and light, making the camera feel almost pocketable — ideal for travel or days when I want a simple, no-fuss setup. The Mark II version adds weather sealing, which is a big deal for me since I often shoot outdoors in unpredictable conditions.

Optically, it’s sharp wide open, with decent (if not spectacular) bokeh. The 35mm equivalent field of view is one of the most versatile focal lengths you can have — wide enough for street photography and landscapes, but not so wide that it distorts portraits or environmental scenes. Autofocus is fast and confident, and the f/1.8 aperture is bright enough for street shooting well into the evening without needing to raise ISO too far.

If I’m being honest, I don’t love this lens the way I love some of my others — but it’s the one that makes the most sense if you want a small, light, high-quality travel kit. I have also owned the 25mm f/1.8, which I think is optically a little better, but for general travel and everyday use the 17mm’s versatility wins out.

Alternatives to Consider

If you prefer a slightly wider view, the Panasonic Leica 15mm f/1.7 is another excellent option, and if you want better bokeh and optical performance, the OM System 17mm f/1.2 PRO is available — but it’s bigger, heavier and more expensive. For most travelers, the 17mm f/1.8 II strikes the right balance of size, performance, and weather sealing.

OM System 25mm f/1.2 PRO – A System-Defining Lens

If there’s one lens that would keep me shooting Micro Four Thirds, it’s the OM System 25mm f/1.2 PRO. I’ve actually owned this lens twice — once when it was first released, and it was right at the top of my list when I bought the OM-3.

The reason is simple: image quality. It’s sharp wide open at f/1.2, which means you can use it in almost any lighting conditions, and the feathered bokeh is gorgeous — giving images a polished, high-end look. At 50mm equivalent, it’s incredibly versatile, covering everything from contextual storytelling shots to more intimate portraits.

Autofocus is quick and confident, and the build quality is as good as it gets — fully weather-sealed, professional-level construction, and a smooth focus ring with manual clutch. The rendering is among my absolute favourites of any lens I own — and that includes my Fuji GFX kit, which says a lot.

Yes, it’s larger than the f/1.8 primes, but paired with a grip on the OM-3 it handles beautifully and I can carry it all day. This is the lens I mount when I want the best, with zero compromises. It’s a system-defining lens and one of the best I’ve ever used on any system — yes, I rate it that highly.

If you want a smaller alternative, the Panasonic/Leica 25mm 1.4 lens offers a great compromise between the OM System versions and is excellent optically. However, mine broke for no reason whatsoever years ago and it put me off the lens. I doubt it’s a common issue (the lens just wouldnt communicate with the camera one day) but I prefer to go with the OM System lenses now as I’ve never had a problem with them even with much heavier use than my 25mm 1.4 ever had.

What If You’re a Zoom Shooter?

One of the great things about OM System — and Micro Four Thirds in general — is that high-quality zoom lenses are significantly smaller than on full-frame systems. I used to shoot with a full kit of zooms plus a few primes, and I could fit them all comfortably into a Lowepro Flipside 400 AW II backpack. In my kit were the 8–25mm f/4 PRO, 12–40mm f/2.8 PRO II, 40–150mm f/2.8 PRO, 300mm f/4 PRO, 25mm f/1.2 PRO, plus the 1.4x teleconverter — along with both the OM-1 and OM-1 Mark II bodies (with grips).

That was an incredibly versatile kit, and I could still take it as carry-on luggage on every flight. In my opinion, if you want the most versatile zoom setup for travel, you have two main approaches:

• Small and Light: Go for the 9–18mm, 12–45mm f/4 PRO, and 40–150mm f/4 PRO.
• Fast and Flexible: Choose the f/2.8 versions (8–25mm f/4 PRO pairs well here too) as I did, which gives you more light-gathering ability and subject separation.

It really comes down to your priorities — portability vs maximum performance — but either approach works beautifully with the OM-3. If you’re planning to use the larger f/2.8 zooms, I’d recommend adding a grip to the OM-3 for better balance and comfort on long shooting days.

Recommended Zooms

• OM System 12–40mm f/2.8 PRO II – My go-to standard zoom and the most versatile option for most travelers.
• OM System 12–100mm f/4 IS PRO – The ultimate one-lens solution if you want to pack just a single zoom. Incredible range, excellent optics, and Sync IS for rock-solid stabilization.
• OM System 8–25mm f/4 PRO – Perfect for wide-angle travel shooters who focus on landscapes, interiors, or tight spaces.

For many travelers, a kit consisting of two zoom lenses and a small prime like the following 8–25mm f/4 PRO + 40–150mm f/4 PRO + 17mm f/1.8 II provides complete coverage with surprisingly little weight — perfect for those who want to keep their kit minimal while staying ready for anything.

Final Thoughts

The OM-3 is one of the best travel cameras you can buy, and pairing it with the right lenses makes it even more capable. Whether you prefer the simplicity of a single zoom, the versatility of a two-zoom kit, or the image quality and character of primes like the 17mm f/1.8 and 25mm f/1.2 PRO, there’s an option to suit your style. The beauty of Micro Four Thirds is that you can build a complete travel kit that covers everything from wide landscapes to portraits — and still keep it light enough to carry all day. It’s one of the reasons why Micro Four Thirds still matters in 2025.

Once you’ve chosen your lenses, make sure you check out my Best Accessories for the OM-3 guide to get set up with spare batteries, memory cards, and other essentials before your next trip.

The OM System OM-3 is one of the most fun and capable cameras I’ve shot with in recent years — and it looks gorgeous too. It’s a fantastic travel and everyday camera, combining classic design with modern computational features and a huge range of lenses.

I’ve written about the best lenses for travel photography with the OM-3 here.

That said, it’s not the most comfortable camera to carry for long periods. To help you get the most out of this little pocket powerhouse, I’ve put together the essential accessories I use with my OM-3. Every item on this list has been personally tested and compared against alternatives — these are the ones that earned a permanent place in my kit.

Field-tested in September 2025: These recommendations come from real-world use with the OM-3 here in the Philippines.

Affiliate Disclosure: Some of the links below are affiliate links, which means I may earn a small commission if you purchase through them — at no additional cost to you. I only recommend products I’ve personally tested and genuinely find useful.

Haoge OM-3 Handgrip – Comfort & Control

Haoge OM-3 Handgrip – The Om-3 is a lightweight and compact camera which is perfect for when you want your kit to be minimal while travelling. However, there isn’t any grip on the front of the camera so when I’m shooting all day or with zoom lenses I attach this Haoge L grip. It doesn’t add much weight but makes a World of difference to the comfort of carrying the camera with pro lenses. It still allows access to all ports and both the battery and memory card compartments so doesn’t interfere with quick operation of the OM-3. The base is made from metal with solid build quality while the siliconised grip is comfortable and gives just the right amount of purchase to confidently hold the camera one handed. The only downside is that it comes with an allen key to attach the plate to the camera rather than an integrated key like on Smallrig grips but I simply slip it in my bag and haven’t lost it yet.

Spare BLX-1 Batteries & Charger

The OM-3 uses the same BLX-1 battery found in the OM-1 series so it has decent battery performance. I’ve found it to last most of a days shooting. However I never want to be caught short and miss a good shot so I do still carry multiple spare batteries with me. I have a mix of original Om System BLX1 batteries which offer the best performance. But I also carry some third party batteries as they are so much cheaper and I’ve found them to offer around 75% of the performance of the originals for way less money. I use a mixture of third party batteries but the best ones that I’ve used so far is this Wasabi kit. It comes with two batteries and a USB-C compatible charger for roughly the same price as one original battery.

Memory Cards – Reliable, Fast, Affordable

One of the only compromises with the OM-3 is that it comes with just a single SD card slot. This isnt a deal breaker for me becasue I always use Sandisk Extreme Pro SD cards and in all the years I’ve been shooting, I’ve never had one fail me, unlike cards from other brands. The best compromise between speed, capacity and price in my opinion are the 256gb cards which fit over 5000 images on when shooting Raw + Jpeg.

Peak Design Everyday Sling Bag

The best camera bag that I’ve ever used is the Peak Design Every day Sling bag. I use the 10L version as it fits all my gear in perfectly when I’m travelling. For reference it will fit my OM-3 with a pro lens such as the 12-40mm f/2.8II attached along with the OM-1 Mark II and 25mm 1.2 pro attached plus the 17mm f/1.8 II lens and there is still room for chargers, wires, cleaning kit and my Ipad Pro 13″ with magic keyboard and Magic Pen. It’s comfortable to carry all day, is highly weather resistant so keeps off the rain while you find cover and has flexible compartments including a separate internal zippered section which holds batteries and memory cards. I’ve tried a lot of bags over the years, in fact I have a pile of different bags sat next to me as I write this, inlcuding ones from Lowepro, Manfrotto, ThinkTank and other no name brands and the Peak design is still my favourite. If you want to keep your kit even lighter then the Peak Design Everyday Sling 6L version offers the same quality in a smaller package.

Peak Design Camera Leash

Although I carry my kit in the Peak Design bag, I often leave that in the hotel and head out with just the OM-3 attached to a camera strap and an extra lens in my pocket. I’ve tested mulitple straps including the OEM one, multiple Peak Design straps as well as ones from BlackRapid and no name third party brands. The reason I don’t use the OEM strap is because it takes far too long to attach and detach from the camera and I often want to quickly remove the camera from the strap for shots at various angles and I find having a strap attached restrictive. After lots of testing, I have found the Peak Design Camera Leash to be the best fit for the OM-3 as it is still lightweight and flexible, similar to the OEM strap yet made from stronger materials. Unlike my Peak Design Slide Lite strap it isn’t stiff and so doesnt bunch up near the camera and the one handed adjustment on the Leash does actually work one handed. The key factor though is that it is so quick and easy to take on and off your camera thanks to the Peak Design Anchor attachment system which allows you to quickly clip the anchors into the camera strap. It’s such a good fit to the OM-3 that I’ve settled on it and have stopped looking for anything else now. In fact I also recently bought a bunch more anchors and now have them fitted on every single one of my cameras so I can just quickly attach either of my Peak Design camera straps to the body I’m using that day.

Peak Design Capture Clip

Since arriving in Scotland, I’ve been getting out much more on long walks through the glens and hills. The OM-3 is perfect for this kind of outing because it’s light but capable of handling virtually any scenario — from shots of the family to landscapes.

On these kinds of walks I always carry a rucksack. Sometimes it’s a hiking backpack, and sometimes a dedicated camera backpack, but I rarely want to leave the OM-3 inside the bag. I much prefer having it ready to shoot if an opportunity arises.

At the same time, I don’t want to hold the camera in my hand the entire time. Sometimes I need my hands free to scramble across rivers and streams, climb the edge of a hill, or simply stop for a snack.

The best solution I’ve found for carrying the OM-3 in these situations is the Peak Design Capture Clip. It mounts onto any backpack strap, and you attach the camera using a plate (similar to how you mount a camera to a tripod).

It’s extremely well made, very secure, and most importantly quick to slot the camera into while on the move. It’s also comfortable to use and conveniently uses the same mounting plate as Peak Design’s tripods, so if you already use one of those there’s no need to swap plates.

For anyone who hikes or does landscape photography, the Capture Clip is easily the best way to carry the OM-3 over longer distances while keeping it instantly accessible for shooting.

Conclusion

Each of these accessories has been tested in the field and earned its place. If you’ve found something that works brilliantly with the OM-3, let me know — I’m always open to trying gear.