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

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.

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.

1. Computational Features That Go Beyond Anything Else

The computational features this camera offers are beyond anything else out there. From Live View and Live Bulb through to Handheld Hi-Res, ND filter and ND Grad filter modes, there is very little this camera can’t shoot.

• I can shoot water with slow shutter speeds and get silky long exposure effects with the built-in ND filter.
• At the coast, I can shoot sunsets without adding physical ND filters thanks to the ND Grad feature.
• When I want more resolution and better tonality, I can use handheld hi-res to create 50MP files with noticeably better noise and color performance.
• For astro photographers, the Starry Sky AF mode is a game-changer for precise focusing on stars.
• And with Live Time and Live Bulb, I can literally watch my long exposures build on the screen in real time, knowing I’ve nailed the shot.

Pair that with OM System’s best-in-class in-body image stabilization, which lets me shoot handheld for a second or more, and the OM-3’s flexibility is incredible. It enables creative photography in a way few other cameras can — only the OM-1 Mark II really matches it and my old OM-1 comes close. I’ve put together a list of the best accessories for the OM System OM-3 to get the most out of the camera.

2. Weather Sealing I Trust Anywhere

From experience, I know Olympus and OM System cameras offer a level of weather sealing better than any other brand I’ve used.

Living in the tropics, a single day can bring dust, ocean spray, and monsoon rains. That makes weather sealing essential, because I don’t want to constantly put the camera away. I’ve shot with the E-M1 and OM-1 line for around a decade — in both Scottish winters and tropical storms — and they’ve never let me down.

To have this same confidence in a smaller, lighter body like the OM-3 is incredibly reassuring.

3. Pure, Unadulterated Fun

This camera is pure fun. Not only can it shoot almost any style of photography I want on a given day, but thanks to the size, weight, features, and design, it feels fun to shoot with.

There are no restrictions on creativity, and the design itself often sparks conversations with people. That in turn helps break the ice and leads to more interesting photos. For me, that makes the OM-3 more than just a tool — it makes it enjoyable in a similar way to the Fuji X100VI.

4. Image Quality That Holds Its Own

I shoot Nikon Z, Fuji GFX, and Fuji X as well as OM Systems, and the difference in image quality for day-to-day shots is not nearly as large as people make out.

Yes, technically larger sensors are better, but they don’t make or break a photo. In nearly two decades of shooting, I can count on one hand the times where a smaller sensor meant I couldn’t get the shot.

And in fact, the OM-3’s Micro Four Thirds sensor has an advantage: for a given field of view and aperture, you get deeper depth of field. That makes landscapes and street work easier, because more of the scene is in focus.

With the f/1.2 PRO lenses — and even the compact f/1.8 primes — I can still achieve shallow depth of field when I want subject separation. Better yet, the f/1.8 primes are so small and light that I can carry a whole set in a jacket pocket. See the best lenses for travel photograpahy with the OM-3.

5. The Joy of Using a “Not Good Enough” Camera

There’s also something I enjoy about using a camera that some people dismiss as “not good enough.” Full-frame aficionados may scoff at Micro Four Thirds, but the OM-3’s sensor is perfectly capable of producing professional-quality images that can be printed or published.

I find that challenge motivating. When I nail a shot I love, it feels even more satisfying knowing I made it with a compact, underdog camera that some would dismiss without ever giving it a chance. Don’t get me wrong, I own full frame cameras and appreciate them for their strengths but that doesn’t mean I can’t see and appreciate the benefits of other systems too.

Closing Thoughts

The OM-3 might not be perfect, but after a month of use, it has genuinely impressed me. It’s small, weather-sealed, packed with features, and above all, fun. It proves that a compact Micro Four Thirds camera can still be a serious tool for creative photography — and that’s why I’ve come to love it.

This article is based on real-world testing. I’ve used the Fujifilm X100VI since its release, and the OM System OM-3 was tested extensively throughout August — including on my latest trip to Moalboal in the Philippines.

I know some people will say “why compare a fixed-lens camera to an interchangeable-lens body?” I heard the same thing years ago when I compared the Olympus Pen F with the Fujifilm X100T. And yes, on paper they’re not direct competitors.

But in practice, they share a lot: both are beautifully designed, retro-styled cameras. Both are small, lightweight, and perfect for anyone who wants something better than a phone without carrying a full-frame kit. For travel, family, or everyday shooting, that makes them natural alternatives. If you want my thoughts after shooting another year with the Fuji X100VI I wrote an article on my experience.

I use my Fujifilm X100VI constantly — it’s one of my most-used cameras. But when I saw the OM System OM-3 with its compact design and the option to pair it with the updated 17mm f/1.8 II, my curiosity got the better of me. Could the OM-3 replicate the way I use the X100VI when paired with the OM Systems 17mm f/1. II lens — while also offering the flexibility of a fully featured interchangeable-lens system when I needed it and, is Micro Four Thirds still a viable system in 2025. I added a few essential accessories to the OM-3 just as I did to my X100VI.

I’ve been shooting with both Fujifilm and Olympus/OM System cameras for over a decade, dating back to the original OM-D E-M5 and Fuji X-Pro1. I know both systems inside out, and I genuinely like them for different reasons. In this article, I’ll walk you through how each performs as a travel, family, and everyday camera — and ultimately, help you decide which one fits your style best.

Design & Styling

Seeing as both of these cameras are — in the camera world at least, and in my eyes too — beautiful designs, which one do I actually prefer? Bear in mind this is, of course, subjective.

There’s no doubt that if you sit the X100VI and OM-3 next to each other, the OM-3 stands out as the more beautiful camera, with its silver finish (I have the black X100VI). I asked my family and a few strangers, and every single one picked the OM-3 as the better-looking model.

However, I don’t think it’s that simple. For me, both are elegant designs. The OM-3 is more overtly pretty, with its retro styling, silver finish, and color wheel reminiscent of old Olympus film cameras. The finish is absolutely first-rate. It has its SLR-style EVF in the middle of the camera, complete with the traditional viewfinder hump.

The Fujifilm X100VI is also a very nice-looking camera but goes with the rangefinder styling, with the viewfinder sitting inside the main camera body, off to the left. Some may prefer one over the other. For me, being left-eye dominant but able to shoot with either eye, it makes little difference. However, the viewfinder on the X100VI is 3.69 million dots versus 2.36 million on the OM-3. In reality, switching back and forth between the two, there are differences, but they’re marginal and not a deal breaker either way. What may be a deal breaker for some is that the X100VI also offers an optical viewfinder thanks to its hybrid design. I use the EVF 99% of the time so it’s not a deciding factor for me.

I definitely appreciate the beauty of the OM-3, but I’m quite drawn to the more subtle design of the X100VI. I guess as a slightly introverted person, the X100VI in black suits me well. I can’t call a winner here, as both look incredible.

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The thing that struck me with the OM-3 is the quality of the controls and dials. Every dial turns with exactly the right amount of resistance to feel solid and purposeful, yet not so much so that it’s difficult to operate. All the buttons are raised just enough to find them when operating the camera without having to look. The shutter button feels perfect, with just the right amount of pressure needed for a half-press to focus and then a full press to take the photo.

The only minor negatives for me would be the on/off switch being on the left-hand side of the body (Olympus and OM Systems have always done this, and I still don’t know why), and the record button on top of the camera being tiny and awkward to find. No problem for us stills shooters, except I’ve re-programmed mine to turn eye AF on and off. The front color wheel dial is also a little stiff to turn, which means that for me, it’s a two-finger job. Rather than being able to quickly change it with my right hand while holding the camera, I have to do so with my left hand reaching around the body.

I also noticed that the camera strap attachment point is slightly in the way when I’m gripping the camera, although after a bit of messing around I found a position where it now sits comfortably between my index and middle fingers. There is a small thumb rest at the back of the body which helps with grip during longer shooting sessions, and the front is covered in a faux-leatherette material that gives a little purchase. Overall, considering there is very little to grip on to with the OM-3, it is surprisingly decent to hold — though it definitely benefits from an L-Grip being added.

Build quality, as I mentioned, looks to be top notch, with weather sealing that I would — and have — trusted in the worst the monsoon season can throw at me here in the Philippines. I’ve shot the EM1 Mark II and others from Olympus/OM in torrential rain here with them slung over my shoulder, and they haven’t so much as blinked. The OM-3, with its IPX53 rating, is better sealed than earlier Olympus models, so I have no worries in this regard.

Overall, I’m really pleased with the build quality of the OM-3. It feels like a tool, not a toy, and that’s important to me. In the hand it feels wider and slimmer than my X100VI, and very similar in weight when the 17mm f/1.8 II lens is attached.

The X100VI feels equally well built but takes a more minimalist approach. The rear of the camera looks more sparsely populated with buttons, even though it offers a joystick (not found on the OM-3). It also, of course, offers real dials for shutter speed and ISO, as well as an aperture ring on its lens, whereas the OM-3 uses the standard PASM dials for dialling in exposure settings. PASM is quicker in use, but Fuji’s dials offer a more fun experience.

The OM-3 offers a decent rear LCD screen which is fully articulating. One of the benefits of this is that it’s fully protected when closed. The X100VI’s screen is beautifully designed and sits flush with the body, yet offers a simple tilt up/down mechanism. The Fuji’s is better for shooting discreetly, the OM-3’s is more flexible.

Overall, design and handling is quite different between the two. Although the OM-3 looks just as retro as the Fuji, it is suited to faster-paced shooting — as we’ll also see later on. When I first picked up the OM-3, my initial instinct was that the X100VI is more comfortable and felt more natural in my hand. However, as I shot the OM-3 more and more in Moalboal, here in Cebu, I really started to like it. It’s still not quite as comfortable as the X100VI, which feels softer and more rounded. However, add an L-grip to them both and they start to feel very similar. I wrote a detailed article on the best accessories to add to your Fuji X100VI here.

Overall, I’d say the Fuji gives the experience of a retro camera with its looks and physical control dials, whereas the OM-3 simply gives the appearance of one.

Features & Image Quality

In my opinion, both Fujifilm and OM System have always produced some of the best SOOC JPEGs in the industry — but they go about it in very different ways.

Fujifilm leans into its film simulations, which offer a fantastic array of looks, many of them with a nostalgic vibe. There’s likely a film simulation to suit all tastes. Personally, I shoot in Classic Chrome most of the time. If you want to get your X100VI quickly set up for shooting then download my free setup guide as well as downloadable settings file to load straight on to your camera. It includes AF setup as well as custom functions and Fuji film recipes already added.

The OM-3 also produces great JPEGs, but they’re less about nostalgia and muted tones and more about vibrant, realistic colors. If you want things right in-camera and want lots of immediate choices, normally I’d say go Fuji. However, the OM-3’s color wheel gives you a huge amount of freedom to create your own looks if you’re willing to put in the time. It has a novel way of allowing you to do this through its color wheel for both color and monochrome profiles.

It’s the old Pen F vs X100 argument again: do you want Fujifilm’s immediately accessible film simulations (plus custom recipes widely shared online), or do you prefer the freedom of OM System’s more intuitive, Lightroom-style color wheel where you can see adjustments live in the viewfinder as you shoot?

High ISO Performance

APS-C vs Micro Four Thirds isn’t a huge gap these days, but yes — the X100VI performs slightly better once you get up to ISO 6400. It’s not just that there’s less noise; the Fuji’s noise pattern is more uniform and therefore more pleasing to the eye. The difference is small, around 1/3 to 1/2 a stop.

Personally, I like having Fujifilm film simulations available as Lightroom profiles for RAW files, but at the end of the day, they’re just color profiles. I can get results I like out of both cameras.

Lenses and Rendering

Comparing the Fuji’s fixed 23mm f/2 to the OM System 17mm f/1.8 II, both are sharp, but the Fuji is better corrected for chromatic aberrations. I’ve noticed more purple and green fringing with the 17mm f/1.8 II. That said, the OM-3 lets you switch lenses — and when I paired it with the 25mm f/1.2 Pro, the results surpassed the Fuji lens, though at the cost of size and weight.

Black & White Profiles

Fujifilm is rightly known for its beautiful Acros profile, one of my favorites for rich black and white with excellent tonality. The OM-3 also has fantastic black and white options via the color wheel, with three profiles as standard. Profile 2 is meant to replicate Tri-X, but I find it a bit too contrasty, so I’ve tweaked it and am still settling on my preferred look.

Computational Features vs Classic Tools

Where the OM-3 really shines compared to the X100VI is in features. It offers Live View, Live Bulb, and Live Composite, which make long exposure photography incredibly easy by giving you live feedback as the exposure builds. It also offers both tripod-based (80MP) and handheld (50MP) high-resolution modes. These not only increase detail but also reduce noise at higher ISOs while improving color fidelity. They don’t come without some issues though, for instance I have found that handheld high-res mode’s benefits in terms of detail are inconsistent.

On top of that, the OM-3 includes software-based ND and graduated ND filters. In my testing, they often do a great job of replicating long exposures and balancing high dynamic range scenes without bracketing. There are caveats (which I’ll cover in my full review), but overall, they’re impressive.

The Fujifilm X100VI doesn’t have these computational features, but it does have tricks the OM-3 can’t match. Its leaf shutter allows for extremely fast flash sync speeds, and when combined with the built-in flash, it makes fill flash in bright daylight easy. It also has a built-in four-stop physical ND filter that lets you shoot shallow depth-of-field portraits in bright light — something the OM-3’s software-based ND can’t replicate.

Autofocus

Now let me start this section by saying that, while the X100VI is not the fastest focusing camera in the world, for single shot, everyday photography I have found it to be perfectly fine. It’s way faster than the Ricoh GRIII for example. However, the difference between it and the OM-3 when trying to capture faster action is pretty significant. I attempted shots of Sofia running towards me on the beach that I honestly wouldn’t even attempt (and didn’t) with the X100VI. Out of several series of over 50 shots that I took, only a couple were out of focus. I repeated this test twice and the results were always the same. So if capturing your children speeding around while on vacation is important to you, then there is only one option here that I could hand on heart say will do the job. The OM-3 is significantly better in these kinds of scenarios.

Overall

Both cameras are fantastic tools. The OM-3 is more flexible, not just because of interchangeable lenses, but because its features let you leave your tripod and filters at home while still being able to shoot handheld 50MP high-resolution images. I’d trust its weather sealing above the X100VI’s, too. If you want flexibility, adaptability, and a camera that can cover an incredible range of shooting scenarios, the OM-3 is a superb choice — especially for Micro Four Thirds shooters who want a compact but versatile system.

The Fujifilm X100VI doesn’t have as many bells and whistles, and its AF performance isn’t as quick, but what it offers can’t quite be replicated by the OM-3. That’s the genuinely immersive shooting experience: the leaf shutter, built-in ND filter, rangefinder styling, simplicity, discretion (especially in black), and those superb film simulations. If you want beautiful results straight out of camera without having to tweak much, the X100VI delivers.

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