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

I had never been to this particular area before, so moving here was a bit of a leap of faith. But everything so far has been better than we could have hoped for. It’s a lovely area with incredibly friendly people and stunning nature and wildlife right on our doorstep.

Sofia has settled into her new school really well and came back with more friends after her first day than I have in total.

I’ve managed to get out a couple of times a week to explore the local area, which has a lovely mixture of soft rolling countryside and woodland, as well as the harsher landscapes on the edge of the Scottish Highlands.

I’ve been taking a camera with me on all my outings — ranging from the X100VI and OM-3 to my OM-1 Mark II and Nikon Z8.

I’m still struggling a little bit to find my feet photographically. I’m increasingly pulled towards nature photography and trying to improve my wildlife photography, which takes time, patience and practice. Not to mention that I’m having to re-learn the local species after having lived abroad for over a decade. My memory and recall of various birds is not what it used to be.

Still, I’m finding that just being amongst nature is like medicine to me. I feel calm, relaxed, and am thoroughly enjoying the time I get outside — even when, as on Tuesday, I come back with no real shots to speak of.

I’m also struggling to focus a little at the moment. The plan had been for the three of us to come here and spend five weeks setting up the new home before my wife and youngest daughter joined us next week. We usually fly with Emirates from Cebu to the UK via Dubai.

Those plans have now gone out of the window due to the conflict currently unfolding in the Middle East. I’ve been preoccupied searching for alternative routes and then dismissing them due to logistics. So it looks like I’ll be watching the situation closely and waiting to determine a safe time for them to travel.

Let’s just hope the whole situation resolves itself as quickly as possible.

In the meantime I have bought in some new lenses which I’m very excited to get out and use: the Fujifilm 16-55mm f/2.8 II as a genral purpose lens so I can still shoot high quality photos but avoid having to swap lenses out in the middle of a Scottish glen in bad weather, as well as the Nikon Z 14-30mm f/4 for landscapes, the Nikon Z 400mm f/4.5 and the 180-600mm as well as the OM System 100-400mm II for wildlife.

I was surprised how light the 400mm in particular was, but also pleasantly surprised by the 180-600mm.

I worked through a bit of a dilemma as to which way to go with my wildlife photography and in the end decided that a combination of using the OM-1 Mark II with the 100-400mm II for casual and walk-around wildlife and nature photography, combined with the Nikon lenses for more purposeful wildlife outings, made the most sense.

Over the coming weeks and months I’ll be getting out more with those lenses for wildlife trips, which I hope will help me start improving my shots slowly. The plan is that come the Autumn, I’ll be much better than I am now, just in time for the Red deer rutting season.

I’ll also be heading out on some proper landscape trips where I will not only shoot but occasionally put various cameras up against each other in the hope that those articles will give some insight into the actual differences between systems.

Sadly, among the things I had to leave behind in the Philippines was my main tripod, so I’m also considering whether to get another — and if so, what to go for.

I’ve also spent a bit of time working out the various bits of kit I need to be comfortable in the Scottish mountains and glens — from waterproof jackets, boots and gloves to rucksacks, camera bags and so on. I now literally have more outdoor gear than everyday clothes, although that probably says more about the state of my normal wardrobe than anything else.

No one needs more than two sets of underwear, right?

After a month or so, and with various trial runs out in the hills, I’ve started to narrow down the kit that actually works here.

After so long abroad — and if I’m honest, after leading a fairly sedentary lifestyle — I’m also really enjoying the process of getting my fitness back to where I want and need it to be.

I’ve found myself pushing uphill faster than I expected and having a little more endurance than I imagined. Of course, that could just be my mental stubbornness and refusal to admit my age rather than any real physical attributes showing.

In the meantime, here are a few articles that I’ve written recently that you might enjoy.

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

For years I’ve dreamt of being a wildlife and nature photographer — but life has always managed to get in the way. Now I’m planning to make time to actually do it. Not in the hope of becoming a professional, but simply to improve, to get images that satisfy me, and — in large part — as a reason to spend time alone in beautiful places. Camping, walking, the sounds, the weather… all the things my soul hasn’t had enough of since I lived in the Outer Hebrides.

Update March 2026: I am now in Scotland and made my choice after a lot of deliberation. I took my new wildlife lenses out for their first trip to a local woodland here in Perthshire and was treated to some beautiful wildlife encounters.

But before I go any further, it’s worth saying this: none of this means the site is changing direction. I’ll still be writing about the cameras, lenses, stories and real-world photography that have built this website over the last year. Wildlife will simply become another thread running alongside everything else — a new chapter, not a replacement. If anything, it feels like a natural extension of the same themes: being outdoors, paying attention, and using photography as a way of making sense of where I am in life. I’ll still be doing everything I do now — just in a new place, with new subjects added into the mix

I’ve always loved the outdoors, animals, and quiet places. It’s where I feel most at peace, and after a turbulent decade in the Philippines, I’m at a point in life where peace — and being where I truly feel at home — matters far more than money, material things, or “success.”

This year I’ve worked on this website religiously, partly to build something sustainable for my family, but also to give myself a little bit of choice: What do I photograph? Where do I live? What’s the environment I want my girls to grow up in? The answer keeps coming back the same — Scotland. A life shaped by the outdoors, with a respect for nature and the environment.

And as I’ve been planning this return, I’ve found myself in a dilemma — a first-world one, admittedly, but a real one for a photographer. I want to pursue wildlife photography alongside landscapes and the stories I tell here. But as the owner of both an OM System OM-1 Mark II and a Nikon Z8… which direction do I take? I recently made this decision and wrote about how and why I chose my wildlife camera and lenses for Scotland.

Forums don’t help. They’re so polarised that all nuance gets lost and everyone argues as if their choice is an absolute. So instead, I’m writing this to think out loud and get my thoughts down on digital paper — partly for myself, partly because some of you are probably wrestling with the same decisions.

As a travel photographer, my entire kit — across every system — has always been built on primes. The 35mm, 50mm and 85mm lenses are my go-to tools, the way I see and interpret the world. But wildlife is a different discipline entirely, and I now need to think seriously about which system and which lenses make the most sense to invest in.

Some will immediately say “full frame, of course”, but there are a lot of factors to consider, from cost and weight to depth of field, reach, and the realities of Scottish weather. So in this article I’m going to outline my full thought process — the pros, the cons, and the tradeoffs I’m weighing up as I decide which path to take.

Lens Choices: The Real Foundation of Any Wildlife System

A new camera body is exciting for most of us, but when you’re making decisions about which system to build your future around, the camera actually matters far less than the lens ecosystem behind it. Bodies come and go. Lenses are the long-term investment. Lenses define what you can shoot, how far you can reach, and how enjoyable the whole experience is.

With that in mind, I’ve narrowed my choices down to OM System and Nikon.

Why these two?
Because both brands offer lenses that:

1. I can afford right now if I consolidate some of my other kit,
2. give me the reach and flexibility to shoot everything from Red Deer to Red Kites, and
3. also offer “halo lenses” — the dream lenses I may never own unless I win the lottery, but which show where their systems can take me long-term.

For OM System, lenses like the M.Zuiko 40–150mm f/2.8 PRO and the 300mm f/4 IS PRO hit a sweet spot. They deliver the image quality I want, they aren’t impossibly heavy, and — importantly — they’re attainable. If I sell off some gear I’m not using, these lenses aren’t out of reach. And together, they cover a huge range of Scottish wildlife situations.

On the Nikon side, lenses like the 180–600mm, 100–400mm, and the 400mm f/4.5 stand out. None of them are “budget” by any means, but compared to the truly exotic supertelephoto primes that dominate professional wildlife photography, they’re surprisingly reasonable. They offer serious performance without stepping into five-figure territory. I’ve also been narrowing down the best accessories for the Nikon Z8 to make it nearly perfect.

That’s ultimately what this comes down to: which system gives me the lenses I need today, while still leaving a path open to the lenses I might dream about tomorrow?

Weather Sealing and the Reality of Scottish Weather

If I were going to shoot wildlife somewhere else, this might not matter quite as much. But Scotland is famous for throwing all four seasons at you in a single day. In winter the rain can come in sideways and last for hours, only to clear up without warning and reveal that magical post-storm light that makes the Highlands feel almost otherworldly.

When you’re out in that kind of environment — walking, camping, shooting, sometimes miles from shelter — you need a system you can trust. Not just theoretically water-resistant, not just “weather-sealed” according to marketing, but a system you genuinely believe will survive whatever the Highlands can throw at it.

In my years of shooting, OM System and Nikon stand out above the rest for their build quality and weather sealing. I’ve used both in the Outer Hebrides with wind and rain blasting straight in from the Atlantic. I’ve shot them in monsoon conditions in Asia, wiped them off with my sleeve, slung the camera over my shoulder with no protection at all — and they’ve never missed a beat.

But it’s not just the weather sealing that matters.

I remember sitting by a loch on the Isle of Harris. I’d just stepped out of the car — the wipers frozen to the windscreen, the screenwash jets frozen solid — and walked down to photograph a line of pine trees covered in heavy powdered snow. It was –11°C. To operate my Canon 5D Mark II, I had to remove my gloves. Within thirty seconds my fingers were stinging so sharply it almost felt electric. I got the shot, but it taught me something I’ve never forgotten: in real winter conditions, ergonomics are not a luxury. They’re essential.

Having buttons you can find instinctively, controls that work reliably in the cold, and a body design you can use with gloves on — that’s what matters when Scotland decides to test you.

The Depth of Field Problem (And Why Sensor Size Isn’t a Straightforward Win)

One thing I know from my years living in Scotland is that it can be incredibly beautiful — but light levels throughout the year, and especially in winter, are low. When you’re shooting landscapes that doesn’t matter too much. You can drop the shutter speed, let the camera sit on a tripod, and the problem disappears.

Wildlife isn’t that forgiving.
Shutter speed has to stay high to freeze motion, so you end up pushing ISO whether you like it or not. On paper that’s an easy win for full frame: better high-ISO performance, cleaner files, more tonal depth. End of debate, right?

Except it’s not that simple.

At the focal lengths typically used for wildlife — 300mm, 400mm, 600mm — depth of field becomes razor thin. At 600mm f/4 on full frame, your plane of focus can be literally an inch deep depending on distance. If you want more of the animal in focus — the eyes, the feathers, the edges of the body — you have to stop down. And the moment you stop down, you’re raising ISO to compensate.

Suddenly the full-frame “better in low light” advantage starts to erode.

Micro Four Thirds, with its smaller sensor, naturally gives you roughly double the depth of field for the same angle of view. A 300mm f/4 on OM System behaves like a 600mm f/8 on full frame in depth of field, but it’s still an f/4 lens in terms of exposure. That means I can often shoot the OM 300mm f/4 at f/4 and keep my ISO two stops lower than a full-frame 600mm f/4 that I’ve had to stop to f/8 to get enough usable depth.

That’s a huge chunk of full-frame’s low light advantage gone.

And then there’s the financial and physical reality: to actually access the full-frame advantage, you need equally fast glass. That means 600mm f/4 on Nikon. If anyone has a spare £15,000 — and maybe a gym membership to go with it — I’m all ears. It’s simply not realistic for me right now.

The lenses I can plausibly afford for Nikon are the 180–600mm (f/6.3 at the long end) and the 400mm f/4.5. Both are fantastic and I’d be delighted to own them, but in terms of pure light-gathering:

• 600mm f/6.3 vs 300mm f/4 on OM System
• 400mm f/4.5 vs the new OM 50–200mm f/2.8 Pro (at 200mm)

It’s not quite the landslide you see claimed online.

If all of this sounds like I’m leaning toward OM System — or trying to justify it — I promise I’m not. I genuinely like both systems. I’m simply trying to figure out whether one of them is obviously more suitable for me given where I’m moving, what I want to photograph, and how I tend to work in the field.

Because there is a flip-side.

Full-frame files, especially from the Z8, have a depth and tonality that M4/3 just can’t match. The resolution gives me more crop room when the subject is further away, and when all else is equal the Nikon will simply produce better quality, more flexible images.

If you can fill the frame on full frame, the advantage is real — especially in Scottish light.

And then OM System throws one more curveball: IBIS.

I’ve seen photographs made with the OM-1 + 300mm f/4 at shutter speeds so absurdly low they feel like witchcraft. Dual Sync IS sometimes looks like it’s breaking the rules of physics. Being able to hand-hold at speeds that wouldn’t even register as possible a decade ago softens the low-light disadvantage in ways that aren’t always obvious on paper.

Which leaves me, even after writing all of this out, exactly where I started: torn.

Cost, Size & the Reality of Carrying It All

One thing I have to face — and I suspect many photographers do too — is the simple reality of cost and weight. Not in abstract terms, but in the very real sense of walking ten miles through boggy ground in February, or climbing out of Glen Feshie with a full winter pack while sleet blasts sideways across your face.

It’s romantic to imagine yourself out there photographing deer on a distant ridge.
It’s less romantic to realise you’re carrying eight kilos of glass and metal to get that shot. I’m planning on trekking and camping regulalry, I wont be running up mountains like I used to but weight still plays a roll when you add in the other gear you need to pack in order to survive nights out in the Scottish winter.

This is where the conversation normally shifts.

Because when you strip away the forum rhetoric, the truth is painfully simple: full-frame wildlife lenses are heavy, expensive, and physically demanding, and Micro Four Thirds lenses are… not.

Or at least that used to be the case, except Nikon changed the rules.

Nikon have done what no other brand has yet done by creating their range of PF (Phase Fresnel) lenses. With their ingenious design they’ve muddied the waters of weight and confused me even further.

Lenses like the Nikon Z 400mm f/4.5 (not a PF lens but still small), 600mm f/6.3 and 800mm f/6.3 are much smaller and lighter than full-frame primes of those focal lengths used to be. It makes them genuinely competitive with Micro Four Thirds in some cases. There is only a 200g difference between the OM System 300mm f/4 Pro (1270g / 4.12lbs) and the Nikon Z 600mm f/6.3 (1470g / 5.25lbs).

That’s astonishing when you consider one is full frame and one isn’t.

But then we bring cost into the equation — not as a question of “what can I technically buy if I stretch far enough?”, but “what can I justify as an experienced photographer but a relative beginner in wildlife photography.

If I buy an OM 40–150mm f/2.8 Pro and a 300mm f/4, that’s expensive, but it’s doable.
If I buy a Nikon 180–600mm and a 400mm f/4.5, that’s more expensive, but still within reach.

But if I start thinking about lenses like the 600mm f/4, the 400mm f/2.8, or even the 800mm f/6.3 PF… suddenly I’m entering a different financial universe. Those are extraordinary tools, but they’re also beyond what my wildlife photography can justify when I’m just starting out.

Then there’s the question of future upgrades.

For OM System, my potential paths are:

• The 50–200mm f/2.8 Pro, though it’s more than double the cost of the 40–150mm f/2.8 for an extra 100mm
• Or the 150–400mm f/4.5 Pro (£6,695), a lens I’ve used briefly and found incredible — essentially the optical quality of the 300mm f/4 Pro with far more flexibility

For Nikon, the natural next steps would be:

• The 600mm f/6.3 PF (£3,999)
• Or the 800mm f/6.3 PF (£4,999)

Neither system’s upgrade path is inexpensive, but both offer lenses that would suit the Highlands extremely well.

The real question is which of these lenses — and which system — I can actually see myself carrying, using and enjoying day after day in Scottish weather and Scottish terrain. The OM System upgrade path leads to one of the best zoom lenses ever made. The Nikon Z path leads to two of the best-value and most compact super-telephoto primes ever made, especially when compared to the old f/4 and f/2.8 wildlife giants of previous generations.

Why I May End Up Running Both Systems (At Least for a While)

The honest answer — and probably the most sensible one — is that I simply don’t yet know where the limits of each system will appear for the kind of wildlife photography I want to do in Scotland. I have a good understanding from owning both, but when it comes to wildlife specifically, I’m not there yet. You only learn those limits through real time in the field, in real Scottish conditions, with real subjects.

Both systems have strengths.
Both have weaknesses.
And importantly, both are genuinely excellent for wildlife, nature, and the kind of adventure-focused photography I plan to do. Both also work extremely well for landscapes, which will always remain part of how I photograph the world.

When I tested the Canon R5 and 100–500mm L against the original OM-1 a few years ago, the thing that surprised me most was just how close the image quality was when I used the R5 in crop mode to try and match the OM-1’s reach. It taught me something I haven’t forgotten: sensor size isn’t everything, and sometimes different systems converge more than you expect once you actually use them in similar ways.

So maybe the simple answer is this: I may end up using both, just as I do with my travel photography. Pick the system that suits the subject, the conditions, the walk, or simply the mood I’m in that day. Let the landscape decide. Let the light decide. Let the distance to the subject decide. That feels more likely than forcing myself into one box or the other.

And in the meantime, I’ll keep my fingers crossed for that Lotto win.
Then I really won’t have to choose. In the meantime, I’m going to keep working, keep planning, and keep looking forward to next year — and to being back in that fresh Highland air.

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.

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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.

This article is different — it’s for people who want a more capable travel camera system with interchangeable lenses, better low-light performance, full manual control and room to grow beyond a single fixed lens.

Travel moves fast — the moments you want to capture often happen once, and you don’t get do-overs. Choosing the right camera can mean the difference between a memory saved forever and a moment missed.
I’ve spent the last 15+ years shooting everywhere from quiet English villages to tropical beaches and crowded cities — using Fujifilm, Nikon, OM System, Sony and even medium format GFX cameras along the way.
In this guide, I’ll cut through the noise and share my real-world recommendations for the best travel cameras in 2026, tailored to different types of travelers and budgets. I’ve shot and owned every camera on this list so these are real recommendations based on real shooting.

What to Consider Before Buying

Choosing the right camera for travel isn’t just about specs — it’s about how the camera fits into your trip and your life. Here are the main factors I look for when deciding what to pack:

• Portability: You’ll carry it all day, often in hot, crowded, or rugged places. A lighter camera means you’ll actually bring it everywhere.
• Lens Ecosystem: The best camera is the one that can grow with you. Make sure there are lenses available for the type of photography you love most (wide landscapes, portraits, wildlife, etc.).
• Weather Sealing: Essential if you shoot outdoors — rain, dust, and humidity are part of travel.
• Battery Life: Always check real-world battery life. Some mirrorless cameras burn through batteries quickly, so bring spares. The ability to charge via USB-C and use powerbanks is increasingly useful.
• Image Quality: This includes resolution, dynamic range, and how the camera handles low light — but also whether it’s good enough for your intended output. There’s little point in hauling a 100MP medium format camera if your images will only live on Instagram.

Now that you know what to look for, here are my top picks for the best travel cameras in 2026 — covering every budget and travel style.

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Best Overall Travel Camera— Fujifilm X-T5

In my opinion, the Fujifilm X-T5 combines the strengths of multiple cameras. When paired with Fujifilm’s compact Fujicron lenses, it’s really not much bigger than the X100VI — but you still get all the handling benefits of Fuji’s physical shutter speed and ISO dials, plus an aperture ring on most lenses. I put the X-T5 up against the Nikon Zf in a separate article to see how they compared.

The image quality is virtually identical to the X100VI, but there are some important benefits: the bigger NP-W235 battery means it lasts all day for casual shooting, it has dual card slots for peace of mind, and with many of Fuji’s f/2 lenses it’s actually faster to focus than the X100VI.

The big difference, of course, is flexibility. Being able to change lenses means you can create a system that suits you perfectly — from small, lightweight travel setups to pro-grade images with some of the most beautifully rendering primes on the market, like the 23mm f/1.4 WR , 33mm f/1.4 WR and 56mm 1.2WR. If you want to delve deeper, then these are the best Fuji lenses for travel photography or for a broader view, the best Fuji lenses in 2026 .

For me, the X-T5 strikes the best balance of any camera available right now in terms of size, flexibility, image quality, and enjoyment. It’s my most-used camera and, when I sold off all my gear in 2024 to do a complete reset, this was the system I chose to base my personal shooting around. You can see why in my Fuji X-T5 full review. Its now, unbelievably, half way through 2026 and I’m using the X-T5 just as much now that I’m living in Scotland as I did in the Philippines.

It’s particularly good for photographing people thanks to Fuji’s film simulations, and with seven custom shooting modes available, I can set up multiple configurations and access them quickly from the Q menu. Honestly, if I could only have one camera for travel photography, this would be the one — it just does everything I need.

Check the latest prices for the Fuji X-T5 here.

Are there downsides? Sure. The AF — which gets a lot of criticism online — still isn’t up to Sony’s level for fast action tracking, but it’s good enough for everything I shoot. Build quality is very good, though not quite as bulletproof as the next camera on this list but it’s stood up to everything I’ve thrown at it in South-East Asia and the Scottish Highlands.

Best Complete Travel System — OM System OM-3

If you want a complete, travel-ready camera that offers everything you could possibly need without hauling a bunch of accessories, the OM System OM-3 should be very high on your list. I discuss why I bought the OM System OM-3 here and you can find my full OM System OM-3 review here.

The OM-3 has the latest stacked Micro Four Thirds sensor, which allows it to focus and shoot extremely quickly. On a trip to Moalboal, Philippines, it easily tracked Sofia running down the beach. It’s small and light, so it doesn’t take up much room in your bag, and when paired with tiny, weather-sealed lenses like the OM System 17mm f/1.8 II, it offers excellent image quality in an unbeatably compact package.

Not only does the OM-3 produce fantastic color images, it has a dedicated dial on the front of the camera that allows you to customise in-camera color and a dedicated black and white mode on the dial. It produces some of the nicest straight out of camera black and white images of any camera I’ve used.

Not only is this a beautiful-looking camera, it’s quick to use with enough custom buttons to adjust everything important without menu-diving. It looks retro but uses the faster PASM dial, combining classic aesthetics with modern usability. Yes, the sensor is smaller than the others on this list and has the lowest resolution at 20MP, but it’s still more than capable of producing images that will make you never want to rely on your phone again. Just in case you are wondering, 20mp is comfortably enough to print 30×20″ at a very high quality.

Where the OM-3 really shines is freedom — freedom to leave the tripod at home, freedom to forget physical filters, and freedom to shoot any subject you want thanks to its incredible computational modes: I talk about the things I already love about my OM-3 here along with the best lenses for travel photography with the OM-3 here.

Here are the feature highlights available on the OM-3.

• Handheld High-Res: Get 50MP files with improved color and noise performance (as long as your subjects are still).
• Live ND & ND Grad: Simulate long exposures without carrying filters.
• Live Bulb / Live View: See your long exposure building in real time so you know exactly when you’ve nailed it.
• Starry Sky AF: Perfectly focuses for astrophotography.
• In-Camera Focus Stacking: Create tack-sharp macro images without special software.
• Best-in-Class IBIS: Shoot at night with shutter speeds as low as 1–4 seconds — handheld.
• IP53 Weather Sealing: This is the only brand that gives IPX ratings. I’ve shot OM cameras through Scottish winters and Southeast Asian monsoons without issue.
• Pro Capture Mode: Pre-record frames before you fully press the shutter so you never miss the decisive moment.

The ability of the OM-3 to handle virtually any subject, in almost any condition, is something few cameras can match. Combined with the generally smaller lenses for Micro Four Thirds — everything from tiny kit zooms to professional lenses — it’s a camera that can go with you anywhere and shoot anything, from an Arctic expedition to street photography in Paris.

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

Downsides? Like all cameras, there are compromises. Low-light performance is about ½–⅔ stop behind Fuji APS-C and about 2 stops behind full-frame. It only has a single card slot, so use reliable cards. With heavier lenses, the grip can feel a little small, though that’s easily fixed with a small add-on grip. The viewfinder is an older 2.36M-dot panel, which is a compromise I’m personally willing to make in exchange for everything else this camera offers. It’s also a little expensive compared to some competitors — but there’s simply nothing else on this list that delivers this level of versatility, portability, and capability in one package.

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Best Full-Frame Travel Camera — Nikon Z6 III

Remember back in the “What to Consider” section when I said image quality, handling, and lens choice were among the most important things to me? Those priorities are exactly why I picked the Nikon Z6 III — and why I’d argue it’s the best full-frame travel camera available right now. It is one of the few cameras that is great straight out of the box although adding a few key accessories takes it from great to nearly perfect. You can see the full Nikon Z6III review here. There is of course the Nikon Z8 which I compared to the Z6III but for travel the Z6III makes more sense.

In terms of size, it’s barely bigger than my OM System OM-1 Mark II, yet it packs a full-frame 24MP sensor that delivers some of the best image quality currently available. Not only is the image quality fantastic, it is fast to operate and shoots bursts up to 20FPS. The IBIS is excellent which gives you more flexibility when it comes to low light shooting and it offers a high quality EVF which is incredibly useful when shooting in sunny destinations.

What makes the Z6 III special is really the lens selection. While Nikon might not match Sony’s sheer number of lenses, the ones they do offer are absolutely ideal for travel photographers: small, light, and optically excellent. The 24-70mm f/4 and 14-30mm f/4 zooms are incredibly capable, and the 1.8 primes — like the Z 35mm f/1.8 — are among the sharpest, best-rendering lenses I’ve ever used, as I saw in my Nikon Z 50mm 1.8 review. I compared the Nikon Z 35mm 1.8 against the Nikon Z 50mm 1.8 to see which prime you should buy first.

They focus fast, are weather-sealed, and are built to last. Crucially, Nikon doesn’t force you to choose between cheap, compromised primes and huge, expensive pro glass — the Z-mount lineup gives you both portability and quality. I’ve personally bought into the 1.8 prime lineup with the 20mm, 35mm, 50mm, and 85mm f/1.8 lenses, and they cover everything I shoot. The Z6 III with those lenses fits comfortably into my Peak Design Everyday Sling bag, and on bigger trips or more demanding shoots, I still have room to add the Z8 without feeling overloaded. Since I moved to Scotland at the start of the year, I have also found that I am shooting with zooms more often and some of them are proving to be amongst the best Nikon Z lenses available.

Another big factor for me is ergonomics. The Z6 III (and Z8) have the best handling of any full-frame cameras I’ve used. Every button is exactly where you expect it, the grip is extremely comfortable, and you get dual card slots — one of which is CFexpress Type B for fast bursts and robust video specs.

Speaking of video, not only is the Nikon Z6III one of the best cameras that you can buy today, it also includes truly excellent video specs. If you shoot hybrid, the Z6 III is a monster: 6K and 4k120 internal recording, high frame rates, and professional codecs. But even if you only shoot stills, you’ll appreciate its low-light performance (among the best on any full-frame camera), excellent IBIS (right up there with Panasonic), and its gorgeous 5.76M-dot EVF and top LCD panel. Nikon’s color profiles give you natural but punchy files straight out of camera.

Downsides? Some people argue its dynamic range isn’t as good as certain competitors, but unless you’re regularly pushing landscapes by three or more stops, you’ll never notice. Autofocus is excellent but not quite as sticky as Sony’s latest A7 IV/A7C II models, and I personally prefer a 3-way tilt screen for photography rather than the fully articulating one Nikon uses here.

Still, when you combine everything — the ergonomics, IBIS, low-light performance, and an almost-perfect travel lens lineup — the Z6 III is, in my opinion, the best full-frame camera for travel photography right now.

Check the latest price for the Nikon Z6III here.

Best Alternatives – Nikon ZF

If you want a smaller, more discreet camera than the Nikon Z6 III that retains most of its strengths while offering a more stylish, tactile shooting experience, the Nikon Zf is it. It uses an older-generation 24MP full-frame sensor, but image quality is every bit as good as the Z6 III. It also shares Nikon’s latest EXPEED 7 processor, which means autofocus performance is very similar in real-world use. I compared the Nikon Zf against the Z6III in more detail.

I’ve been using the Zf a lot recently, and performance-wise it’s closer to the Z6 III than many people expect. The real difference is design philosophy. The Zf is a retro-styled camera with physical dials for shutter speed, ISO, and exposure compensation, while still allowing you to shoot in aperture priority, shutter priority, or full auto when needed.

It’s not as comfortable to hold as the Z6 III due to the lack of a pronounced grip, and the second card slot is limited to microSD, which won’t suit everyone. If efficiency and ergonomics matter most, the Z6 III is still the better choice as a primary camera. But if you value the experience of shooting as much as the results, the Zf is an excellent alternative — and a brilliant backup body that offers a different, and often more enjoyable, way of working. Whichever camera you end up choosing, I’ve published my settings to help you get started with setting the camera up. Z6III settings guide and the Nikon Zf settings guide.

— Sony A7C II
If you want something smaller and lighter with even better autofocus and a huge lens ecosystem, the Sony A7C II is an excellent option. I previously owned the A7 IV (which shares the same internals), and it’s a fantastic camera with the best AF I’ve ever used. The trade-offs? The ergonomics are more cramped, the viewfinder isn’t as nice, and I don’t trust its weather sealing as much as Nikon’s. Sony’s 1.8 primes are cheaper and lighter but don’t quite match the image quality or build of Nikon’s Z-mount primes.

Best Value Full-Frame Travel Camera — Panasonic Lumix S5II

It would be hard to write this article without including one of the best-value full-frame cameras available: the Panasonic S5II (I personally own the S5IIX, which for stills is basically identical). I originally bought the S5IIX for video work, back before I switched my focus fully to this website — and yes, it has excellent video specs — but I think it’s hugely underrated as a stills camera.

The ergonomics are honestly among the best of any camera I own. Every button seems to be exactly where I expect it to be. The body feels solid yet remains relatively compact for a full-frame camera. What stands out most to me, though, is the image quality, which is excellent. High ISO performance is very strong (possibly a touch better than the Z6 III), and Panasonic’s color profiles are beautiful. The Natural profile produces realistic yet vibrant colors, and the black-and-white options — L Monochrome and Leica Monochrome — are stunning.

Autofocus, while not class-leading, is absolutely good enough for people and general photography. In my experience it’s about on par with the Z6 III, though I do wish Panasonic would show a box around the eye in focus rather than crosshairs. IBIS is arguably the best in any full-frame camera right now, and the dual card slots plus the ability to load your own creative LUTs (color porifles) into the camera make it a very flexible tool.

While Panasonic doesn’t offer the same breadth of lenses as Nikon or Sony, they’re part of the L-Mount Alliance (with Sigma), so there’s still plenty of choice. I really appreciate Panasonic’s thoughtful design: the three lenses I own — the 20–60mm, 50mm f/1.8, and 85mm f/1.8 — are all similar in size and share the same filter thread size. This means I don’t have to buy duplicate filters, and for video shooters, you wont have to re-balance your gimbal every time you swap lenses. The lenses are good performers, weather-sealed, and in my experience Panasonic’s sealing is trustworthy — I’ve used their Micro Four Thirds cameras in monsoons without issue. the build quality of the lenses is not quite up to the Nikon Z 1.8 primes i mentioned above but the benefit is that saves you a bit of weight while still getting good optical performance.

When you factor in the often ridiculously good deals available on the S5II and S5IIX (I got my S5IIX + lenses for around $2500) , you get a well-specced, well-designed, and very enjoyable full-frame camera at a significantly lower price than most competitors. For anyone wanting full-frame quality without breaking the bank, it’s a compelling choice.

See the latest pricing for the Panasonic S5II here.

Downsides? Honestly, there aren’t many at this price point, but I do find the camera a bit slow to operate. Startup time takes a moment, and even pressing the playback button introduces a slight delay before images appear. And outside of the often-discounted 20–60mm kit lens and the excellent 50mm and 85mm f/1.8 lenses, some of Panasonic’s other lenses are fairly expensive.

Best of the Best (Money No Object) — Fujifilm GFX100S

This next option isn’t specifically a “travel camera” — but if we even travel back just a few years, it would have been unthinkable to use a medium format camera for travel photography. And yet, with the GFX100S (which I own) — and now the Mark II version — we do, unbelievably, have the option to go all out and use medium format for travel.

Yes, it’s significantly heavier than the other cameras on this list, but I still use my GFX100S for travel when image quality is the absolute priority or I’m shooting a specific project and want the very best I can get. The body is about the same size as my Nikon Z8, very comfortable to hold with a solid grip, plenty of custom buttons, dual card slots (SD only), a top LCD for quickly checking settings, and a good viewfinder.

Personally, I wouldn’t pair this camera with zooms — they’re just too big — but there are primes that work well as a travel kit and keep things manageable. Lenses like the 45mm f/2.8, 50mm f/3.5, 55mm f/1.7, and 80mm f/1.7 are not that large and are certainly smaller and lighter than the pro f/2.8 zooms many people travel with on full frame.

The GFX100S offers a 102MP medium format (some argue not “true” medium format) sensor that’s 1.7× larger than full frame. It’s excellent in low light, gives you Fuji’s wonderful color profiles, and outputs 16-bit RAW files. For medium format, its autofocus is actually quite reasonable — no, it won’t follow your kids as they sprint down the beach, but for anything that isn’t moving at breakneck speed, it can keep up. (I presume the Mark II is even better, though I still need to test it.)

If you want the absolute best for a once-in-a-lifetime trip — perhaps Yellowstone National Park — traveling with the GFX100S is totally doable. The resulting image files will blow you away: you can print them as large as you want, crop aggressively, and know you made the photos the best they could possibly be.

People often talk about the “medium format look,” and without diving too far into technicalities, it’s real. The combination of better tonality and how focal lengths behave on a larger sensor gives images a unique look. If you want the best without paying $50,000 for a Phase One, Fuji offers it in a reasonably sized package without having to remortgage the house — maybe just sell a kidney.

See the latest GFX100 pricing here.

Are there any downsides to the GFX100S? Well, there’s no getting around the fact that this setup is bigger and heavier than all the others here. You also need to consider where you’re traveling. You might not want to carry such expensive equipment — whether because of the risk of damage or loss, or simply not wanting to attract attention in countries where your gear might represent more than the average annual salary. Autofocus will mean you miss some shots, so if your style leans toward candid moments and capturing life as it happens, this won’t be a good choice. If you mainly post to social media, this is definitely overkill. And if you just want medium format without the bulk, there’s the recently released GFX100RF, which is essentially a medium format X100VI.

Final Thoughts

Choosing the best travel camera isn’t about buying the most expensive one — it’s about picking the one that matches how you actually shoot and travel. If you want a pocketable camera, I’ve covered that separately in my Best Compact Cameras for Travel Photography 2026 guide. This page focuses on mirrorless/system cameras that give you room to grow — from the flexible Fujifilm X-T5 to full-frame bodies like the Nikon Z6 III and Panasonic S5II. And if image quality is the absolute priority, the GFX100S even makes medium format travel-viable.

Whatever you choose, the most important thing is to get out there and use it — the best camera for travel is the one you have with you when the moment happens. If you found this guide helpful and you’re planning to buy one of these cameras, using the links on this page helps support the site at no extra cost to you — and lets me keep creating in-depth, honest guides like this one.

Safe travels, and happy shooting.

FAQ — Travel Camera Systems Explained

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.

Updated March 2nd 2026: I have now written the modern version of this article, comparing the X100VI vs OM-3. Both of these cameras are excellent in their own way. The X100VI is one of the best compact cameras available and the OM-3 is a brilliant travel camera.

Wow, what a fantastic blast from the past this post is. Can you believe that I wrote this article and made the video from a Bahaykubo (Nipa Hut) in the yard of our tiny 1 bedroom rental place. That tiny little house was where I spent hours singing a tiny newborn Sofia to sleep. She will be 10 this year.

I still remember shooting these two cameras fondly. The X100T was my only camera for over a year. It’s the camera I brought with me when I first moved to the Philippines way back in 2014. The Pen F was an impulse buy based on the fact that I was a previous Olympus user and let’s be honest, it was a beautiful camera. I still don’t understand why Olympus never released a successor.

Roll forward to 2025 and I think Pen F’s probably sell used for more than I paid for this one new. It was a great camera, maybe the last of the really good mid-range ones from Olympus. Sadly, Olympus sold off the camera division a few years ago. I now mainly use Fuji in the shape of the XT5 and X100VI and Nikon with the Z8, Z6III and Zf. They are fantastic cameras but I do have a certain nostalgia, both for this time in my life and the days when Olympus were still creating cameras like the Pen F. The closest thing now is the OM System OM-3 or the Fuji X100VI (or X-Pro3) which although a very popular and fashionable camera these days, still takes me back to that wonderful simplicity that I enjoyed in the X100T. If you still like retro style cameras then take a look at my X100VI review, it may not be A 100T, but it feels like its got all the DNA.

Olympus Pen F vs Fuji X100T-

These two cameras are among the most popular retro styled cameras currently available. So I decided to put the Olympus Pen F vs Fuji X100T to see which camera is better built, has better handling and most importantly which produces better images.

I also shot a video if you don’t want to read all of this although I add a few more details here

So before we dive right in lets take a look at the features of each camera to see what you get before we put them up against each other in real World use.

Olympus Pen F features

• New 20mp sensor  The new sensor gives an image size of 5184 x 3888 pixels
• 5 Axis Image Stabilisation built in to the body. 
• 2.36 million dot OLED Viewfinder. The viewfinder on the Pen F is the same as that found in the Olympus OM-D E-M10 II offering 1.23x magnification.
• 10 FPS mechanical shutter and up to 20FPS with the electronic shutter. 
• Fully articulating 1.04 million dot 3″ touch screen LCD screen.
• 50mp High res shot mode.
• 1/8000 mechanical shutter speed , 1/16000 with the electronic shutter.
• 1080/60p video.
• Colour Wheel control dial giving access to fine tuning of black and white, colour and ART profiles.

Fuji X100T Features 

• 16mp APS-C X-Trans II Sensor . Sensor size is 23.6mm x 15.8mm giving an image size of 4896 x 3264 pixels.
• Hybrid viewfinder with 2.36 million dot LCD. This is both an optical and electronic viewfinder
• Fixed 23mm f/2 Lens with leaf shutter, in built flash and ND filter
• Mechanical 6FPS shooting speed. 
• 1.04 million dot 3″ Fixed LCD
• 1/4000 mechanical shutter speed, 1/32000 with electronic shutter
• 1080/60p video
• Fuji Film Profiles

Now before I start, both the Olympus Pen F and the Fuji X100T are great cameras. Both have a large following and the X100 series from Fuji has almost legendary status.

However a lot of people say that at the price you would be crazy to choose a micro 4/3 sensor over an aps-c or full frame camera. If you think that’s the case then you might want to see my Micro 4/3 vs APS-C article

If you are looking for more detailed information then check out my Fuji X100T review and my Olympus Pen F review . I also put the Olympus Pen F vs OMD EM5 II so make sure to check that out too.

Sensor size is not the only factor to consider here though. You need to look at the camera as a whole when deciding between the Olympus Pen F vs Fuji X100T and in the Pen F’s case that includes all the light and superb lenses available from Olympus and Panasonic.

Handling

Before writing up this Olympus Pen F vs Fuji X100T article I have had the chance to use both these cameras for an extended period. The Fuji for nearly two years and the Pen F for nearly two months now. I bought these camera with my own money (as I do with all my gear). I have no bias to any manufacturer or system although I have to admit that both Fuji and Olympus are among my favourite brands for cameras.

This is because they both continue to innovate and bring us great new cameras, lenses and features. Both Fuji and Olympus cameras are feature rich, more so Olympus as they give us incredible tools like 5 axis IS, live bulb, live time and the new high resolution mode. Fuji keeps it a bit more simple but that’s fine with me also as they give us great film simulations and beautifully handling cameras with real external dials for shutter speed, exposure compensation and aperture rings on most of their lenses which are a joy to use.

The Olympus Pen F and Fuji X100T feel similar when holding them. The Fuji X100T is a little larger at 127 x 74 x 52 mm compared to the Pen F’s 125 x 72 x 37 mm and slightly heavier at 440 g  while the Pen F is 427 grams. However don’t forget that the Fuji includes a lens at this weight. Once you add a lens like the Olympus 17mm f/1.8 to the Pen F it actually feels a little heavier than the X100T.

The Olympus Pen F feels a little more solid. Both are well made but when holding them next to each other the Pen F feels better made. The Fuji has a small grip on the front whereas the Pen F does away with any front grip. The thumb rest on the Pen F gives decent purchase which makes the camera comfortable to hold.

I have the silver versions of both and they look very stylish although I actually wanted the black Pen F but it was out of stock and I couldn’t wait to get my hands on this stylish camera.

The design of both cameras is nice but the Pen F wins in the style stakes with its beautiful shape, luxurious metal finish and a higher quality faux leatherette grip.

The dials feel better built on the Olympus, giving better feedback and feeling more solid in use. For example both cameras have exposure compensation dials but the Fuji’s is a little easy to accidentally knock while the one on the Pen F is stiffer and requires intentional movement to change.

Both cameras have plenty of external dials but they go about implementing them in different ways.

The Fuji X100T goes for an old school aperture ring on the lens as well as shutter speed dial on the top. There is no ISO dial like you find on the Fuji XT1 but I don’t miss it that much.

Shooting with the X100T is very intuitive and it’s nice to be able to see your settings without having to look at an LCD screen or viewfinder.

The Olympus Pen F uses a more standard PASM dial and control dials in front and behind it to control your settings. I actually find this to be slightly quicker to use in practise but there is not much in it so choose what you prefer. It is nice to see Olympus putting a push to lock button on the PASM dial. You simply press it to lock and press again to unlock.

The Pen F also has a physical exposure compensation dial with +-3 ev available. The on/off switch is also nice to use. I actually prefer it to the on off switch on the Fuji which can be a little hard to use sometimes as it is just a bit too small.

As you can see in my video the Fuji features a small hand grip on the front whereas the Pen F doesn’t. However the thumb grip on the Pen F is larger and makes up for this. I actually feel that I have a better grip on the Pen F but again with both cameras the differences are quite small.

The Pen F features a fully articulating 1.04 million dot 3″ touch screen LCD. The Fuji has a standard non articulating 1.04 million dot 3″ LCD screen. Some people love articulating screens others despise them. That’s up to you to decide what you prefer. I hope the Fuji X100T successor has a flip up screen like the X-T1. That would suit this camera better.

Winner – Draw

Olympus Pen F vs Fuji X100T – Features

The X100T features the last generation 16mp X=Trans II sensor while the Olympus Pen F sports the latest 20mp Micro 4/3 sensor from Sony.

In reality 20mp vs 16mp doesnt make a huge amount of difference and in my testing the differences were minimal and any perceived increase in resolution is more to do with the lenses used on both cameras than the resolution itself.

The Olympus Pen F also features the new colour wheel on the front of the camera.

This gives you direct access to customise your Jpeg output using the new black and white simulation modes, the new colour mode or the older Art modes. If you shoot Jpeg (and even if you don’t) you will love the new black and white (Tri X simulation) from Olympus. It gives a fantastic contrasty image. What is even greater is the ability the Pen F has given users to customise the look of the images.

You can change the tone curves, introduce colour filters as well as add a grain and vignette.

The Fuji X100T added the Classic Chrome simulation mode to the other film simulations offered but nothing in there quite offers the customisation of the black and white output available on the Pen F.

You can add colour filters (red, green, yellow) to the monochrome mode in the X100T but again the Pen f has more options here with Yellow, orange, Red, Magenta, blue, cyan, greenand yellow-green. You can also vary the strength of each filter in three steps.

I’m dying to get my hands on the new Fuji X-T2 to try out their Acros black and white simulation as it looks beautiful. Some of the images I have seen Damien Lovegrove produce with it are simply stunning.

The Fuji X100T is not really about features and all the bells and whistles. It invites you to simply concentrate on your images. You wont find image stabilisation, live time or live bulb modes as in the Olympus but for some this wont matter. However it does have some advantages which are perhaps more useful in general photography. The X100T has a leaf shutter which allows fast flash sync speeds even up to 1/2000. Why does this matter? It allows you to add fill flash in daylight and for brightly lit subjects when you can’t decrease your shutter speed to the usual flash sync speeds of 1/200 or 1/250.

It also has a built in ND filter. This again is great when shooting in bright light when you want to use large apertures. Normally you would have to add an ND filter to your lens to enable you to keep your shutter speed below the maximum. However the X100T has this feature built in. There are basically very few situations where you can’t get the image that you want with the Fuji.

The Pen F on the other hand looks like a simple camera but in reality it is feature rich. The 5 axis image stabilisation built in to the body is the best that there is. It allows you to handhold shots at unthinkably slow shutter speeds and still get sharp shots.

One of the newer features (first introduced in the OM-D E-M5 II) is the High resolution mode. This combines 8 images in to 1 using sensor shift technology. Basically it moves the sensor a tiny amount between each image and then combines them in camera to give you an 80mb raw file or 64mb Jpeg. The detail that this produces is incredible and easily on par with 36mp full frame cameras such as the Nikon D810 and Sony A7R.

The only issues is that it is limited in use to still subjects and you need to have the camera on a tripod as the Image stabilisation doesn’t work at the same time. So any subjects with movement will not work in this mode. Uses I can see for it are architectural, still life, fine art and Art reproduction photography. I also noted that the colours produced by the camera in this mode were very rich and beautiful.

Winner – Draw

Olympus Pen F vs Fuji X100T – Auto Focus

Neither of these cameras are going to be useful for fast action or sports. The X100T’s auto focus is way too slow and the Pen F tracking is not up to scratch because there are no phase detection pixels. Instead it relies on contrast detection auto focus.

In reality no one in their right mind would buy these cameras with the intention of shooting wildlife or sports.

So in normal use which one is better and will give you more keepers?

Simple, the Olympus Pen F wins here comfortably. In good light it is closer than you might think but the Pen F locks on faster and more decisively. Don’t forget that the Pen F also has a better implementation of face and eye detection auto focus. On the Pen F you can select face detection, eye detection, left, right or near eye detection and it works really well most of the time. It also has touch to focus on the LCD screen so you can touch where you want the camera to focus and it will take a shot with your subject in focus.

The Fuji has face detection too but doesn’t offer the customisation of the Pen F with no eye focus selection.

In low light both cameras can sometime hunt. In the case of the Fuji it can hunt back and forth and still not find it’s intended target. The Pen F is pretty good unless your subject has very low contrast, in which case it can sometimes fail to lock on.

Winner – Pen F 

Olympus Pen F vs Fuji X100T – Image Quality

Olympus Pen F vs Fuji X100T

So we have an older generation 16mp X-Trans APS-C sensor against a newer generation 20mp Micro 4/3 sensor.

The new sensor in the Olympus Pen F is a slight improvement over the older 16mp sensor in previous Olympus cameras like the OM-D E-M5II but it’s not a huge improvement in terms of resolution.

In terms of IQ the Pen F combined with the Olympus 17mm f/1.8 produces sharper images than the Fuji. It is very close unless you shoot close to your subjects. Then the difference is greater as the 23mm lens on the X100T is known to be a little soft at close distances.

The Pen F definitely seems to perform better at high ISO with less colour noise than the OM-D E-M5II. The grain produced at ISO 3200 is small and quite filmic so I don’t mind shooting at up to ISO 3200 for some subjects. I think 6400 is too far for this format at the moment unless your output is on the web or small prints.

The larger sensor in the Fuji X100T naturally gives it an advantage here and around half to one stop advantage at high ISO. I would max the X100T at ISO 6400 but again only for some subjects.

In terms of colour you can check out my Micro 4/3 vs APS-C article to see comparisons. Both produce great Jpegs with very nice colours. Which you prefer is really down to the subjects you shoot and personal taste. I would say that Olympus and Fuji produce the best SOOC Jpegs in the industry right now.

Despite the difference in sensor size these two cameras are very close when it comes to image quality. However all things being equal the Fuji will produce shallower depth of field at the same aperture and handles high ISO noise slightly better.

The Pen F is more customisable if you are shooting Jpegs thanks to the fantastic new colour wheel at the front and the ability to tweak and perfect your output.

Winner – Fuji X100T

Olympus Pen F vs Fuji X100T – Conclusion

So which is the better camera overall?

If I had to pick one as my only camera it would be the Pen F due to the fact that it is an interchangeable lens camera. This doesn’t mean it is a better camera than the X100T.

For instance I have owned the X100T for nearly two years and for some of that time it was my only camera. I would prefer to have the Fuji as a second camera. One that you always take with you and know you can still capture great images. If the 23mm (35mm equivalent) focal length suits you then it is a fantastic camera. There is also something pleasing about having a fixed focal length as it teaches you to see in that format and to use the camera that you have. You wont spend time worrying about which lens to use. You will just work out how to get the shot. With that said there are some occasions where you wont get the shot because you are just too far away from the subject or you are too close and can’t fit everything in. There is only so much you can do with one fixed lens.

If ultimate image quality is what you want then again the Fuji would just sneak it. But it is close, much closer than many would have you believe. Don’t forget that the Pen F has in built IS and you can add a fast lens which will negate the Fuji’s slight advantage at high ISO’s.

In the end the Pen F is the more well rounded camera with better auto focus, better build quality, in-built image stabilisation and of course you can switch lenses to suit your needs.

The IQ of the Pen F is very close to that of APS-C and as you can see from my Micro 4/3 vs APS-C shootout it is more dependent on which lenses you stick in front of the camera. For example the Pen F + Olympus 17mm f/1.8 was sharper than the 18-140mm kit lens on the Nikon D7200 and indeed it is sharper than the Fuji X100T.

If you shoot at high ISO a lot then you would probably want to look at full frame because the differences between Micro 4/3 and APS-C are not huge. Check out my quick look at the Sony A7II for a full frame camera featuring in body image stabilisation.

In the end both of these cameras are great fun to shoot with and give excellent results. You can take great photos with either camera and you will have a lot of fun doing so without lugging around all the extra weight of a DSLR and a bag full of lenses. The fact they both look great is just an added bonus and who doesn’t like pretty stuff.