Best Micro 4/3 cameras - Full guide

Finally, here it is! My comprehensive guide on Micro 4/3 cameras (also known as MFT, for “Micro Four Third”)! Whereas APS-C and Full Frame cameras had dominated the market until then, Panasonic and Olympus joined forces in 2008 to introduce the Micro 4/3 camera mount in order to offer mirrorless cameras to everyday people. This system, which combines mirrorless electronic viewfinder cameras with a sensor that is even slightly smaller than APS-C, quickly became known for its compactness and lightness, while guaranteeing superior image quality to the then compact and bridge cameras. While Olympus sold its photography division in 2020, the company that bought it carries on producing the gear (for now), and has even released new products under the brand name OM SYSTEM (which I’ll talk about below).

With a 19.25mm flange focal distance (FFD), the micro 4/3 mount offers the possibility of adapting many lenses designed for larger FFD, notably those designed for DSLR cameras. This allows you to adapt lenses from Nikon, Canon, Pentax and others. But to take advantage of the smaller sensor size and mount dimensions, Panasonic and Olympus have developed several lens ranges designed for this format, with no less than 60 lenses available nowadays. One of the main advantages is that the same lens can be used on both brands’ cameras, since Olympus lenses can be mounted on Panasonic cameras and vice versa. It should be noted, however, that with this configuration, certain restrictions may apply, notably the inability to combine stabilization from the two items. You can find most of these lenses on the page featuring all micro 4/3 or MFT lenses.

Currently, brands offering APS-C are also transitioning towards mirrorless cameras as exemplified with the recent introduction of the first APS-C Nikon Z-mount and Canon RF-mount cameras (although the latter were already manufacturing mirrorless cameras with the M-mount). Also, micro 4/3 faces a lot of competition and preconceived ideas spread by some do not help it incarnate “fair value for money”. Indeed, although smaller, the micro 4/3 sensor is still large enough to ensure remarkable image quality, even at relatively high sensitivities. Size difference with APS-C is mainly noticeable through its 4:3 ratio. The sensor is not particularly smaller, it is just narrower. Its incompatibility with larger formats, unlike Sony, Nikon and Canon APS-C which are compatible with full-frame lenses, is also seen as a hindrance. However, in my opinion, this compatibility is rather an advantage. Indeed, manufacturers do not need to adapt some lenses to APS-C format, since they already offer a full frame compatible yet more expensive version.. Moreover, being designed for full frame, these lenses do not benefit from the weight and size advantages procured by the use of a smaller sensor.

I already wrote an article on our blog explaining the importance of sensor size in photography. So, I won’t go into details on that here. Let’s see now which cameras, Panasonic and Olympus offer in the micro 4/3 format. I decided to talk about the two brands in the same article as they use the same mount. This is a peculiarity that deserves to be underlined because it is quite rare. Indeed, you can have Olympus lenses and choose to go for a Panasonic camera if it fits better to your tastes. Whereas if, for example, you have Fujifilm XF lenses and you find the Canon R7 interesting, you can forget about your Fujifilm lenses or give up on the idea of getting the R7!

In this format, Panasonic offers several ranges of cameras, from 650 to 1800€, with very different designs and obviously very different performances and functionalities. Some of these references are getting old but are still the latest productions, although the phase AF recently introduced by the brand on its full frame S5 II may give hope for a renewal in the micro 4/3 format. By the way, we also have a page dedicated to L-mount full-frame cameras, of which Panasonic (Leica and Sigma) is part of.

The OM SYSTEM OM-5 Mark II follows in the footsteps of the OM-5 released in 2022, from which it inherits much of its technical foundation. It once again features the 20.4 MP Micro Four Thirds Live MOS sensor paired with the TruePic IX processor, a well-established duo delivering solid image quality and accurate color rendering. The 121-point cross-type autofocus system, combining both phase and contrast detection, remains unchanged, as does the 5-axis stabilization, which can provide up to 7.5 stops of compensation depending on the lens used. The 2.36 M-dot OLED viewfinder, fully articulating touchscreen, and IP53 weather sealing — resistant to dust, moisture, and temperatures down to –10 °C — are also carried over.

The most significant improvements come in ergonomics. A USB-C port (mandatory in Europe) now modernizes connectivity, though charging is only possible when the camera is switched off — a limitation compared to some competitors. The grip has been redesigned to improve handling comfort while maintaining compactness. More importantly, the addition of a CP (Computational Photography) button gives direct access to OM System’s signature functions: Live ND simulating a neutral density filter, High Res Shot up to 80 MP on a tripod, Focus Stacking for macro work, HDR, and Multiple Exposure. This streamlines the shooting experience and encourages greater use of these creative features.

Another welcome addition is the “Night Vision” mode in both the viewfinder and rear screen. This amplifies the electronic signal to make framing in darkness easier, a particularly valuable tool for astrophotographers or anyone shooting long exposures at night. This feature complements an already capable specification set for outdoor photography, reinforcing the rugged and travel-ready positioning of the camera. The OM-5 Mark II therefore remains faithful to the brand’s philosophy: delivering a compact and lightweight body without compromising on durability or advanced tools useful in the field.

For video, the camera retains 4K30p (including Cine 4K at 24p) but introduces something new compared to its predecessor: Full HD slow motion at 120 i/s, ideal for capturing smooth and creative sequences. Unlimited recording, OM-Log400, and now two additional OM-Cinema 1 & 2 profiles — inherited from higher-end models — provide more natural color rendering and greater flexibility in post-production. Finally, the addition of a red recording frame and a front tally lamp improves visibility and monitoring while filming. Without overhauling its technical core, these refinements consolidate the OM-5 Mark II as a versatile and modern hybrid, designed to meet the needs of both field photographers and demanding videographers.

The Panasonic Lumix G9 II, available from September 2023, marks a major evolution in Panasonic’s micro 4/3 range. It has a 25.2 megapixel sensor and hybrid autofocus (a first for the brand in this format!). Its burst rate is remarkable: 60 fps with AF tracking and a 100-megapixel high-definition mode.

When it comes to video, the camera can record 5.7K at 60 fps, with up to 300 fps in Full HD. The camera features 5-axis image stabilisation, Dual I.S. 2, an OLED viewfinder and an adjustable touchscreen for easy shooting.

In terms of build construction, it’s robust and tropicalised, with good ergonomics (all good points!). Its battery life is between 370 and 390 shots. That’s what it advertises. But in reality, as is often the case, you’ll get more. The G9 II’s ultra-fast burst and hybrid autofocus make it ideal for wildlife and sports photography. Its stabilisation also makes it ideal for landscape photography. Its excellent video performance will delight videographers. The only drawback is its weight and size, which may surprise those used to micro 4/3 cameras.

To sum up, the Panasonic Lumix G9 II is a good reference for photographers and videographers alike, even if it’s quite a budget camera. It’s clearly a versatile, high-performance model.

Introduced in June 2024, the Panasonic Lumix GH7 is the improved version of the GH6. It retains its rugged construction and stabilised 25.2-megapixel sensor. It incorporates hybrid phase correlation autofocus, which significantly improves autofocus (the same hybrid autofocus as the Lumix S5 II and S9). It features the Venus Engine processor and an ISO range of 100 to 12,800 (expandable to 50-25,600), with a burst rate of 10 fps in mechanical mode and 60 fps in electronic mode with AF tracking.

For video, the camera records Apple ProRes RAW 5.7K at 30fps internally. For slow-motion footage, it can record in 4K at 120fps and in Full HD at 240fps. New features include 32-bit floating audio for improved sound dynamics, subject to the use of the DMW-XLR2 XLR module. Connectivity is comprehensive: HDMI Type A 2.1, USB-C 3.2 Gen 2, headphone and 3.5mm microphone jacks, plus dual SD UHS-II and CFexpress Type B slots.

For video, the camera records Apple ProRes RAW 5.7K at 30fps internally. For slow-motion footage, it can record in 4K at 120fps and in Full HD at 240fps. New features include 32-bit floating audio for improved sound dynamics, subject to the use of the DMW-XLR2 XLR module. Connectivity is comprehensive: HDMI Type A 2.1, USB-C 3.2 Gen 2, headphone and 3.5mm microphone jacks, plus dual SD UHS-II and CFexpress Type B slots. The GH7 is clearly aimed at professional or semi-professional videographers in terms of use. Its strengths lie in its ergonomics, its 3.68 Mpts OLED viewfinder and its tiltable touchscreen. It is positioned as a versatile mirrorless camera. It can even compete with some full-frame cameras, not to mention its excellent stabilisation and autofocus.

I won’t hide the fact that the GH7 is more expensive than the camera mentioned above. But in my opinion, the video and image quality are well worth it. As I said, it competes with some full-frame mirrorless cameras such as the Lumix S5. For videographers, it’s an excellent model. It’s also good for photography, but it’s up to you to decide whether you’d rath.

The OM SYSTEM OM-3 is a Micro 4/3 mirrorless camera that incorporates many of the key features of the OM-1 Mark II into a more compact, streamlined body. Equipped with a 20.4 MP BSI Live MOS stacked sensor and TruePic X processor, it guarantees high quality images with excellent colour management and 5-axis stabilisation of up to 6.5 stops. The camera also offers very fast burst speeds, with an electronic mode of up to 120 fps.

Aesthetically, the OM-3’s retro design pays homage to the film cameras of the 70s and 80s. Its clean lines and finish have a vintage charm that street and travel photographers will appreciate. However, this quest for style comes at the price of certain compromises, such as the removal of the grip handle and autofocus joystick, which may be annoying to users accustomed to a more traditional grip.

On the performance side, the camera offers a wide range of advanced features. Shooting modes such as High Res Shot (50 MP handheld and 80 MP on a tripod), Live ND and Live GND offer great flexibility for capturing a wide variety of scenes. Hybrid autofocus with 1053 collimators and intelligent subject detection (human, animal, vehicle) ensure precise focusing. In spite of these advantages, there are some limitations. In particular, there is an imperfect ISO increase and a very limited buffer (85 RAW), which limits long bursts for moving scenes.

To sum up, the OM-3 is particularly suitable for urban and travel photographers looking for a high-performance camera with a retro look. Although it has some shortcomings in terms of ergonomics and high-sensitivity handling, its excellent stabilisation, creative features and vintage design make it an attractive and inspiring camera. Given its price, it’s positioned as a rather high-end option that combines tradition and innovation, even if you might think the price is still a bit high, don’t you?

The OM System OM-1 Mark II, released in January 2024, is the successor to the OM-1, keeping its advantages and improving its performance. It retains the 20.4 megapixel sensor, combined with the TruePic X processor, which ensures good control of high ISO settings. The Quad Pixel AF autofocus system improves subject tracking by anticipating movement, making wildlife and sports photography much easier.

The camera also features 8.5-stop image stabilisation, which improves performance in low light. The buffer memory is double that of the previous model. The camera can shoot up to 213 RAW images at 120 fps, and 256 RAW images in C-AF at 50 fps (not to be underestimated, especially for fans of fast, even ultra-fast bursts). New features include Live GND mode and Live ND128.

In terms of construction, the OM-1 Mark II (tropicalised) retains the 5.76 Mpts OLED viewfinder and ball-type touchscreen. The buttons have been redesigned in rubber for a better grip. For video, the camera records in C4K 60p 4:2:2 10-bit.

As you’d expect, the OM-1 Mark II is slightly more expensive than its predecessor. It’s particularly well suited to wildlife, landscape and sports photography, thanks to its ultra-fast burst, efficient stabilisation and improved AF tracking. In my opinion, this is one of the best Micro 4/3 mirrorless cameras out there.

Below you’ll find a selection of older micro 4/3 mirrorless cameras, from models that have been updated to older models that are no longer available (except second hand). Some are still available at very good prices, so it may be worth having a look.

Available from October 2022, the OM System OM-5 is a mid-range Micro 4/3 mirrorless camera. It has a 20.4 megapixel sensor and TruePic IX processor. Sensitivity ranges from ISO 200 to ISO 25,600 (extendable to ISO 80). Autofocus on this model includes face and human eye detection.

There is also a 2.39 million-dot OLED viewfinder and an adjustable touchscreen. Shots can be taken at up to 10 fps with the mechanical shutter and 30 fps with the electronic shutter. On the video front, it records in 4K at up to 30 fps and in Full HD at up to 120 fps. The size and weight of the OM-5 make it a compact and, above all, robust camera with good tropicalisation. It has 5-axis stabilisation. Its autonomy is estimated at 310 shots per charge, which remains reasonable.

In terms of use, the OM-5 is primarily aimed at travel photographers looking for a lightweight, versatile camera. Its stabilisation is one of its main advantages, ideal for long exposures or night shots without a tripod. Advanced modes such as Live ND and Live Composite are a real plus for landscape photography. On the other hand, the autofocus remains accurate but has certain limitations, especially in low light and when tracking subjects. This makes the camera less suitable for wildlife and sports photography.

In short, the OM-5 offers good value for money. It combines lightness, solidity and some advanced features. Enthusiasts of travel photography will be delighted (I’m pretty sure!).

When JIP Group acquired the Olympus photography division, considering that they are not renown for keeping what they buy “alive” (who remembers the Sony VAIO laptops?), fear spread out among micro 4/3 users. However, the first camera released by the “new” OM SYSTEM brand turned out to be quite reassuring. This OM-1 has the latest technology, including a stacked sensor. It is also, currently, the only micro 4/3 camera to have that.

The OM-1 possesses a bunch of exclusive features. Its sensor, in particular, while remaining at 20MP, has a stacked memory that allows it to reach much faster reading speeds o improve reactivity. Its AF has almost 10x more collimators than the OM-5, providing a mechanical burst of 10ips but mostly an easier to use 50ips (!)electronic burst. Non-stacked sensors are more prone to distortion and banding, defects that can be prohibitive in many cases. The ISO ranges from 80 to 25,600 ISO.

Video mode doesn’t lag as we can count on 4K60p with the stacked sensor and phase AF guaranteeing more discreet rolling shutter effects and a powerful AF tracking, albeit not reaching the best efficiency offered by a larger sensor for roughly the same price. The electronic viewfinder is also on a par with the competition, with a definition and magnification worthy of this type of camera, and therefore much more comfortable than that of the E-M10 IV and OM-5.

Although the body is larger than that of its little brother, given the performance, the OM-1 is still relatively light and the more prominent handle is unobtrusive, while offering a much more comfortable grip. The E-M1 III and E-M1 X can still be found here and there, but they are increasingly rare, and their prices are not much lower than that of the OM-1. Given its performance, I would advise you to get the latter.

Available since January 2018, the Panasonic GH5S is a micro 4/3 mirrorless that’s perfect for videographers. It has a 10.2 megapixel sensor, a 3.68 million-dot OLED viewfinder and an adjustable touchscreen. The camera has a wide ISO range of 160 to 51,200, which is particularly useful in low light. Unfortunately, the camera does not have stabilisation.

Compared to the GH5, this model offers a much lower resolution, but with better control of high sensitivities. Its autofocus, combined with DFD technology, is one of the things it has in common with its predecessor. However, this system is a little outdated compared to newer AI-assisted cameras. Its burst rate can reach 12 frames per second, which is still quite good.

Despite its limitations, the GH5S is a good performer when it comes to creating videos. What’s more, it can record in 4K DCI and even has a V-Log. In short, it’s a camera suitable for professionals.

As you can see, the GH5S is a Micro 4/3 mirrorless that offers excellent video quality in a compact format. The only drawback is the lack of stabilisation. Although the GH5S is no longer young, it still meets the (sometimes high) expectations of videographers.

Despite its limitations, the GH5S is a good performer when it comes to creating videos. What’s more, it can record in 4K DCI and even has a V-Log. In short, it’s a camera suitable for professionals.

As you can see, the GH5S is a Micro 4/3 mirrorless that offers excellent video quality in a compact format. The only drawback is the lack of stabilisation. Although the GH5S is no longer young, it still meets the (sometimes high) expectations of videographers.

Despite its limitations, the GH5S is a good performer when it comes to creating videos. What’s more, it can record in 4K DCI and even has a V-Log. In short, it’s a camera suitable for professionals.

As you can see, the GH5S is a Micro 4/3 mirrorless that offers excellent video quality in a compact format. The only drawback is the lack of stabilisation. Although the GH5S is no longer young, it still meets the (sometimes high) expectations of videographers.

The GH range holds a special spot in the Panasonic line. The brand being very well known in video and, in particular, in cinema, it was necessary to create a camera dedicated to this use. Particularly since, at the beginning, micro 4/3 was its only available format.

With the GH6, you get a professional camera, designed for long video recording at 4K and C4K60p in 4:2:2 10-bit which you can push up to 6K. The video features are very advanced and worthy of professional cameras. A new sensor has been developed, offering a 25MP resolution and a dynamic range boost that allows it to reach 13EV+, which is almost as good as the best APS-C cameras, and not far behind recent FF cameras.

Although not designed for photography, it has good image quality with good definition thanks to this new sensor, and can reach a 8ips burst rate. It can, therefore, do the job perfectly well. Having said that as far as photography is concerned, the above-mentioned cameras will be more interesting considering their price and size.

This GH6 reaches the top of video functionalities without exceeding 2000€ while being also very convincing compared to other cameras should you also want to practice photography. We just lament the absence of Panasonic’s phase AF.

Although there are entry level cameras below the E-M10 IV, such as the E-P7 and E-PL10, these are rarely sold in shops and are on special order only. I will therefore start with the cheapest but most readily available camera. Although released quite recently in 2020, it is likely that OM SYSTEM will release an OM-10 to replace it. However, for the time being, this will be the first one detailed here.

While equipped with the 20MP sensor widely used on most micro 4/3 cameras and even though the E-M10 IV has a higher number of AF points than with Panasonic’s ones, its AF performance remains limited as it only uses contrast AF. Its 9-fps burst rate, faster than most same price Panasonic cameras, is therefore not a great action photography sales pitch. The electronic viewfinder, as with most Olympus cameras, is rather narrow and not very well defined. We could have hoped for more in 2020.

While video recording is not Olympus’ forte, it remains acceptable with 4K30p, a standard in this price range. Olympus’ stabilization is renowned for its efficiency, even if the E-M10 IV’s is amongst Olympus’s least efficient ones. The screen is tiltable but can be turned towards the camera from below.

Its design, as is also the case with all OM-Ds and inherited from the brand’s film cameras, coupled with a small size and controlled weight, make it a pleasant camera to handle. I even think that its grip is more comfortable than that of the Panasonic GX9.

The vlog trend and the proliferation of what is now called “content creators” (whoever they’re talking about, lol!) could not escape Panasonic, a well-known brand in the video world. So, they decided to release a new camera specifically designed for this purpose in the middle of 2020: the G100.

It differs from some cameras designed for vlogging, such as the Sony ZV-E10, in that the Panasonic has an electronic viewfinder and effective stabilization, which is very useful for vlogging. Its screen is, of course, adjustable, and it offers 4K30p, a must have for a camera designed for video in this day and age. We could have hoped to reach 4K60p, but in such a compact and light body, it would have been complicated without quickly overheating.

Shooting videos gives you a result on par with the GX9’s performance, with a sensitivity of up to 25600 ISO, an identical AF system and a 5-fps burst rate compared to 6 fps for the GX9. It will be more interesting than the GX9 for vlogging, with its better grip on the handle, but basically doesn’t offer much more for the same price.

It is therefore a camera offering a fairly classic Panasonic performance, with the same shortcomings such as a rather short battery life, and sometimes erratic AF tracking skills. However, it is lightweight and small, which is ideal for lenses such as the 20mm f/1.7 or the recent Panasonic 9mm f/1.7 wide-angle lens. Having said that, some people may find it difficult to hold due to the lack of grip on the handle.

A year and a half after releasing the G9, the brand’s flagship micro 4/3 camera, Panasonic released the G90 in 2019, a blend of both the performance of the GX9 and the more expert ergonomics of the G9. Presented by Panasonic as a versatile photo/video adventurer, it takes advantage of an all-weather build and more advanced video functions. It can even record without time limit, unlike the G9.

The GX9’s AF system and 20MP sensor are still here, with a sensitivity range of up to ISO 25,600—although I would advise you not to go over 6400—, and a burst rate of 6ips with AF tracking. On this camera, the goal is no longer to be light and compact but to be durable and ensure serious grip. We therefore have a much more prominent grip and the viewfinder, located on the top and not on the side, also makes it become quite tall.

The video mode remains limited to 4K30p, but without any time limit. Stabilization is a bit more efficient. It also has better battery life, although the numbers give it almost as limited as the other two cameras mentioned above. It also has an “eco mode” which allows you to extend battery life significantly (from 280 to 900 shots).

Although it is close in size compared to an APS-C or even a Full Frame camera, the G90 combines good photo and video performances with advanced ergonomics and build, making it a good balanced companion, whether with small, light and compact or heavier lenses.

This is a camera that I personally bought and reviewed in depth on our blog. Feel free to read our full review of the Panasonic G90.

Released in February 2018, the GX9 is currently one of the cheapest micro 4/3 options from Panasonic. It borrowed the GX8’s design but is not quite a replacement as many things were downgraded, including the less defined and narrower viewfinder.

Equipped with a 20MP sensor, like most other recent micro 4/3 cameras, it delivers very good image quality. Although its ISO range goes up to 25,600 natively, it is better to limit its range to 6400. Its burst mode and sole contrast detection AF do not allow it to become a camera suitable for action photography, but that is not its purpose. It is designed to be light and compact. On these points, it does fit the bill.

When it comes to video, it does the bare minimum with 4K30p and a tilting but not swiveling rear screen. So, it will be a good companion for everyday photography in normal conditions. Its build is not all-weather but still sturdy. However, it will be a bit limited in more sporty conditions or in advanced video use.

All in all, it’s a good camera for still or slow-moving subjects that can rely on efficient stabilization. On the minus side, the performance of its viewfinder is poorer than that of the GX8 and it has a rather weak autonomy.

In November 2017, Panasonic released its flagship camera: the Panasonic G9, a camera with supposedly exceptional capabilities and an ability to meet the demands of action photography such as sports or wildlife.

Its sensor offers the same 20MP resolution as the others, but image quality seems slightly better and you can go up to ISO 12,800 with less loss. Its 9-fps burst rate and much higher frame count suggest that it can indeed meet the highest demands of action photography. However, it is limited by contrast detection AF which makes tracking subjects, sometimes complicated. The minimum shutter speed has been increased from 1/4000th of a second on previous cameras to 1/8000th of a second on this one.

The G9 offers 4K60p videos and very advanced features, although recording is still time-limited. With a swiveling and touch-sensitive rear screen, as found on the G90’s, is very practical for video. Panasonic has made few compromises on the camera’s physical characteristics. It is therefore as large and heavy as some fairly high-end full-frame cameras.

Even if some people like the grip on these kinds of cameras, I am not a fan of their bulk. If I must choose a smaller sensor, I might as well have a camera with a matching size! But that’s a very personal comment, and should you be a fan of large, sturdy and powerful cameras, able to do both photography and video, the G9 is still a very interesting choice.

Here are the main points to remember about the above-mentioned cameras.

The Micro 4/3 mount shared by Panasonic and Olympus/OM SYSTEM offers a wide range of choices, with access to both brands’ optical fleets, regardless of the brand of camera body you choose. So you’ll have to decide what your requirements are, depending on what you’re going to use your camera for, but rationality can also give way to nostalgia or taste.

If you’re looking for a versatile camera that’s as good at photography as it is at video, the Panasonic Lumix G9 II is a good choice. Ideal for advanced amateurs, it’s great for nature, wildlife and sports photography thanks to its fast burst and improved autofocus. Its effective stabilisation also makes it a good ally for landscape, handheld and low-light shots. Its Micro 4/3 format remains compact, but it’s still slightly larger than other models, which may come as a surprise if you’re used to lighter mirrorless.

If you’re a content creator or videographer, I think the Panasonic GH7 is the best choice. Its superb video quality, 5.7K and 4K 120fps recording and excellent sound management make it an ideal mirrorless for advanced productions. Its ergonomics and full connectivity will appeal to professionals and semiprofessionals who want a rugged, high-performance camera that is reliable to shoot with, but is lighter than a full-frame camera. For those looking for a more affordable alternative, the GH6 offers excellent video capabilities at a much lower price.

The OM-1 Mark II is ideal for wildlife, sports and landscape photography. Its ultra-fast autofocus and stabilisation make it easy to capture dynamic shots, while its tropical construction means it can withstand the harshest conditions. With its OLED viewfinder and precise AF tracking, it is a highly sophisticated camera for capturing the moment with fluidity and precision. Its predecessor, the OM-1, is still a great alternative for a smaller budget, offering excellent photo and video performance.

Finally, if you’re looking for a lightweight, compact hybrid that’s perfect for travel and street photography, the OM-5 is an interesting option. Its small size, powerful stabilisation and advanced modes such as Live ND make it an ideal companion for backpackers and landscape photographers, while remaining affordable. Its autofocus is a little weak for fast-moving subjects, but it remains an excellent compromise if you prefer portability without sacrificing image quality.

Positioned between the OM-1 Mark II and OM-5, the OM System OM-3 is a premium option with a retro look, combining performance and refined design for urban and travel photography. With its advanced features and redesigned ergonomics, it offers an attractive compromise for those seeking both ruggedness and style.

Now that we’ve come to the end of this article on micro 4/3 mirrorless cameras, don’t hesitate to read the tests carried out on certain micro 4/3 lenses, such as the Panasonic 15mm f/1.7, the Panasonic 42.5mm f/1.7 OIS or the Olympus 75mm f/1.8, to appreciate the quality that can be obtained and the advantages of having lenses dedicated to this format. You can also take a look at the articles on other manufacturers’ hybrids, such as Sony’s E-mount mirrorless or Fujifilm’s X-mount mirrorless.

Hope to see you soon,

Written by Sylvain PONS

I've been passionate about photography since 2010, learning as I went along. Today, I dedicate myself to guiding others in their choice of camera gear and sharing a variety of tips to improve their photography skills.

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