Best Micro 4/3 cameras: complete guide

Here it is at last: my comprehensive guide to Micro 4/3 cameras (also known as MFT, short for “Micro Four Thirds”)! While 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 to make mirrorless cameras more accessible to everyday photographers. This system combines mirrorless cameras with electronic viewfinders and a sensor slightly smaller than APS-C, quickly became known for its compactness and lightness, while delivering better image quality than the compact and bridge cameras available at the time. While Olympus sold its photography division in 2020, the company that acquired it has continued producing cameras and lenses, and has even released new products under the brand name OM SYSTEM which I discuss below.

With a flange focal distance of 19.25 mm (FFD), the Micro 4/3 mount makes it possible to adapt many lenses designed for a longer flange focal distance, particularly DSLR lenses. This means you can adapt lenses from Nikon, Canon, Pentax, and other manufacturers. To make full use of the smaller sensor size and mount dimensions, Panasonic and Olympus developed several ranges of lenses designed for this format, with more than 60 lenses now available. One of the main advantages is that lenses can be used across both brands, since Olympus lenses can be mounted on Panasonic cameras and vice versa. It should be noted, however, that with this configuration, some restrictions may apply, particularly the inability to combine in-body and optical stabilization in certain combinations. You can find most of these lenses on the page featuring all Micro 4/3 or MFT lenses.

Other manufacturers have also expanded their APS-C mirrorless ranges, as illustrated by the introduction of first APS-C Nikon Z-mount and Canon RF-mount cameras although Canon had already produced mirrorless cameras using the EF-M mount. Micro 4/3 also faces strong competition, and the misconceptions surrounding the format do not always help its reputation for value. Although it is smaller, the Micro 4/3 sensor is still large enough to deliver excellent image quality, even at relatively high ISO settings. The difference from APS-C is also reflected in its 4:3 aspect ratio. The sensor is not dramatically smaller; it is primarily narrower. The lack of direct compatibility with larger formats, unlike Sony, Nikon and Canon APS-C which are compatible with full-frame lenses, is sometimes viewed as a disadvantage. However, in my opinion, the dedicated nature of the system can actually be an advantage. Indeed, manufacturers do not always develop dedicated APS-C lenses, since they already offer a full-frame-compatible but more expensive alternative. Moreover, being designed for full-frame, these lenses do not benefit from the size and weight savings made possible by a smaller sensor.

I have already written an article on our blog explaining the importance of sensor size in photography. So, I will not go into detail here. Let us now look at the cameras that 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 worth highlighting because it is relatively unusual. Indeed, you can have Olympus lenses and choose to go for a Panasonic camera if it better suits your preferences. By contrast, if, you have Fujifilm XF lenses and you find the Canon R7 interesting, you would either have to leave your Fujifilm lenses behind or abandon the idea of buying the R7!

In this format, Panasonic offers several ranges of cameras, from 650 to 1800€, with very different designs, performance levels, and feature sets. Some of these models are aging but remain current in the range, although the phase-detection autofocus introduced on the full-frame S5 II raised hopes of a broader refresh in the Micro 4/3 format. By the way, we also have a page dedicated to L-mount full-frame cameras, a system shared by Panasonic, Leica, and Sigma.

The OM SYSTEM OM-5 Mark II follows in the footsteps of the OM-5 released in 2022, and retains much of its predecessor’s technical foundation. It once again features the 20.4 MP Micro Four Thirds Live MOS sensor paired with the TruePic IX processor, a proven combination that delivers solid image quality and accurate color rendering. The 121-point cross-type autofocus system, combining both phase and contrast detection, is unchanged, as is 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 — with resistance to dust, moisture, and temperatures as low as –10°C — are also carried over.

The most significant improvements concern ergonomics. A USB-C port (mandatory in Europe) modernizes the 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 without compromising compactness. Most importantly, the addition of a CP (Computational Photography) button provides direct access to OM System’s signature functions: Live ND, which simulates a neutral-density filter, High-Res Shot at up to 80 MP on a tripod, Focus Stacking for macro work, HDR, and Multiple Exposure. This streamlines the shooting experience and makes these creative features easier to use of these creative features.

Another welcome addition is the “Night Vision” mode for both the viewfinder and rear screen. This amplifies the electronic signal to make it easier to frame scenes in the dark, which is particularly useful for astrophotographers or anyone shooting long exposures at night. This feature complements an already strong feature set for outdoor photography, reinforcing the camera’s rugged, travel-ready positioning. 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 designed for field use.

For video, the camera retains 4K30p (including Cine 4K at 24p) but adds a feature absent from its predecessor: Full HD slow motion at 120 fps, which is ideal for smooth, creative slow-motion sequences. Unlimited recording, OM-Log400, along with two additional OM-Cinema 1 & 2 profiles — inherited from higher-end models — provide more natural-looking color and greater flexibility in post-production. Finally, the addition of a red recording frame and a front tally lamp makes recording status easier to monitor. Without overhauling its technical core, these refinements reinforce the OM-5 Mark II as a versatile and modern hybrid, aimed at both outdoor photographers and demanding videographers.

The Panasonic Lumix G9 II, released in September 2023, represents a major step forward in Panasonic’s Micro 4/3 range. It features 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-resolution mode.

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

Its construction is robust and weather-sealed, with well-designed ergonomics. Its battery life is between 370 and 390 shots. That is the official rating, although real-world results may be better depending on use. The G9 II’s ultra-fast burst and hybrid autofocus make it particularly well suited for wildlife and sports photography. Its stabilization also makes it ideal for landscape photography. Its excellent video performance will also appeal to 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 strong option for photographers and videographers alike, although it represents a significant investment. It’s clearly a versatile, high-performance model.

Introduced in June 2024, the Panasonic Lumix GH7 is a substantial evolution of the GH6. It retains its rugged construction and 25.2-megapixel stabilized sensor. It incorporates hybrid phase-detection autofocus, which delivers a major improvement in focusing performance (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 30 fps internally. For slow-motion footage, it can record in 4K at 120 fps and in Full HD at 240 fps. New features include 32-bit float audio for improved sound dynamics, when used with 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, along with SD UHS-II and CFexpress Type B card slots.

The GH7 is clearly aimed at professional and advanced videographers. Its strengths lie in its ergonomics, its 3.68-million-dot OLED viewfinder and its tilting touchscreen. This makes it a versatile mirrorless camera. It can even compete with some full-frame cameras, supported by its excellent stabilization and autofocus.

There is no denying that the GH7 is more expensive than the camera mentioned above. But in my opinion, its video capabilities and image quality justify the price. As I said, it competes with some full-frame mirrorless cameras such as the Lumix S5. For videographers, it’s an excellent model. It is also highly capable for still 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 delivers high-quality images with excellent color rendering and 5-axis stabilization 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 1970s and 1980s. 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 front grip and autofocus joystick, which may frustrate users accustomed to a more traditional grip.

In terms of performance, 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 1,053 autofocus points and intelligent subject detection (human, animal, vehicle) provide precise focusing. Despite these advantages, there are some limitations. In particular, high-ISO performance remains limited and a relatively limited buffer (85 RAW), which limits long bursts when shooting extended action sequences.

To sum up, the OM-3 is particularly well suited 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-ISO performance, its excellent stabilization, creative features and vintage design make it an attractive and inspiring camera. Given its price, it’s positioned as a premium 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, retaining its strengths while improving overall performance. It retains the 20.4 megapixel sensor, combined with the TruePic X processor, which ensures good control at high ISO settings. The Quad Pixel AF autofocus system improves subject tracking by anticipating movement, making it easier to photograph wildlife and sports.

The camera also features 8.5-stop image stabilization, which improves performance in low light. The buffer is twice the size 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 (a valuable advantage, 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 (weather-sealed) retains the 5.76 Mpts OLED viewfinder and fully articulating touchscreen. The buttons have been given a more tactile rubberized finish 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 stabilization 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, including models that have since been replaced and others that are no longer available (except on the used market). Some are still available at very good prices, so they may still be worth considering.

Released in October 2022, the OM System OM-5 is a mid-range Micro 4/3 mirrorless camera. It features 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 fully articulating 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 stabilization. Its battery life is rated at 310 shots per charge, which remains reasonable.

In practice, the OM-5 is primarily aimed at travel photographers looking for a lightweight, versatile camera. Its stabilization 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 particularly useful for landscape photography. On the other hand, the autofocus remains accurate but has some 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 still offers good value. It combines low weight, durability and some advanced features. Travel photographers should find plenty to appreciate.

When JIP Group acquired the Olympus photography division, considering that they are not renowned for keeping what they buy “alive” (who remembers the Sony VAIO laptops?), concern spread among Micro 4/3 users. However, the first camera released by the “new” OM SYSTEM brand proved reassuring. This OM-1 introduced advanced technology, including a stacked sensor. At the time, it was the only Micro 4/3 camera to use this type of sensor.

The OM-1 offers several distinctive features. Its sensor, in particular, while remaining at 20MP, has a stacked architecture that allows it to reach much faster readout speeds and improve responsiveness. Its AF has almost ten times more collimators than the OM-5, providing a mechanical burst of 10 fps but mostly an easier to use 50 fps electronic burst. Non-stacked sensors are more prone to distortion and banding, defects that can be prohibitive in many cases. Its ISO range extends from ISO 80 to 25,600.

Video performance is equally strong, with 4K60p with the stacked sensor and phase AF guaranteeing reduced rolling-shutter artifacts and effective autofocus tracking, albeit although it does not quite match the best performance 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 smaller siblings, considering its performance, the OM-1 is still relatively light and the more prominent grip remains well integrated, 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 choose the newer model.

Available since January 2018, the Panasonic GH5S is a Micro 4/3 mirrorless designed primarily for videographers. It features a 10.2 megapixel sensor, a 3.68 million-dot OLED viewfinder and an fully articulating touchscreen. The camera has a broad ISO range of 160 to 51,200, which is particularly useful in low light. Unfortunately, the camera does not have stabilization.

Compared to the GH5, this model offers a much lower resolution, but with better control of high ISO settings. Its autofocus, combined with DFD technology, is one of the features it shares 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 still performs well for video production. It also, it can record in 4K DCI and includes V-Log. In short, it’s a viable option for professional use.

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 stabilization. Although the GH5S is now an older model, it still meets the (sometimes high) expectations of videographers.

The Panasonic GH5 II, released in 2021, builds on the strengths of the original GH5 with several useful improvements for video creators. It features a 20.3 MP Micro Four Thirds sensor, an updated Venus Engine processor, improved 5-axis stabilization, and 4K60p 10-bit recording. V-Log L is included as standard, giving videographers greater flexibility for color grading.

The camera also offers unlimited recording in many modes, dual SD UHS-II card slots, a fully articulating touchscreen, and built-in live-streaming capabilities. Its robust weather-sealed body and professional connectivity make it a reliable choice for interviews, events, studio work, and longer productions.

The main limitation of the GH5 II is its contrast-based DFD autofocus, which is less responsive and less reliable for fast-moving subjects than the hybrid phase-detection systems found on newer Panasonic cameras. It is therefore better suited to controlled shooting situations than to wildlife, sports, or unpredictable action.

Even so, the GH5 II remains a strong option for videographers looking for excellent stabilization, reliable recording features, and a solid body at a more accessible price than the GH7. It may be an older model, but it still offers very good value for demanding video work.

The GH series occupies a special place in the Panasonic line. Given Panasonic’s strong reputation in video and cinema, the company developed a camera line dedicated to this use. This was particularly important because, at the beginning, Micro 4/3 was its only available format.

With the GH6, you get a professional camera, designed for extended video recording at 4K and C4K60p in 4:2:2 10-bit with recording options extending to 6K. The video features are very advanced and suited to professional workflows. A new sensor has been developed, offering a 25 MP resolution and a dynamic range boost that allows it to reach more than 13 stops, which is almost as good as the best APS-C cameras, and not far behind recent full-frame cameras.

Although video is its primary focus, it has good image quality and detail thanks to this new sensor, and can reach an 8 fps burst rate. It can, therefore, do the job perfectly well. That said, for photographers, the above-mentioned cameras may be more appealing given their price and size.

This GH6 offers an extensive range of advanced video features without exceeding 2000€ while also remaining convincing compared to other cameras should you also want to shoot stills. The main limitation is 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 less widely available in stores. I will therefore start with the cheapest but most accessible widely available model. 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, it is the first model covered here.

While equipped with the 20MP sensor widely used on most Micro 4/3 cameras and even though the E-M10 IV has a more autofocus points than comparable Panasonic models, its AF performance remains limited as it only uses contrast AF. Its 9-fps burst rate, faster than most similarly priced Panasonic cameras, is therefore not enough to make it a strong action-photography camera. 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 less powerful systems. The screen is tiltable but flips downward for front-facing use.

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 low weight, makes it a pleasant camera to handle. I even think that its grip is more comfortable than that of the Panasonic GX9.

The rise of vlogging and the proliferation of what is now called “content creators” (whoever they’re talking about, lol!) naturally attracted Panasonic’s attention, a well-known brand in the video world. The company therefore 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, lightweight body, it would have been complicated without creating thermal-management challenges.

Its overall performance is broadly comparable with the GX9’s performance, with a sensitivity of up to ISO 25,600, 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 more comfortable grip, but does not otherwise offer significantly more for the same price.

It is therefore a camera offering a a familiar Panasonic feature set, with the same shortcomings such as a rather short battery life, and sometimes inconsistent autofocus tracking. 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 shallow grip.

A year and a half after releasing the G9, the brand’s flagship Micro 4/3 camera, Panasonic released the G90 in 2019, combining the performance of the GX9 and the more advanced ergonomics of the G9. Presented by Panasonic as a versatile hybrid photo-video camera for outdoor use, it benefits from an weather-sealed construction and more advanced video functions. It can even record without a recording 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 6 fps with AF tracking. On this camera, the priority is no longer to be light and compact but to be durable and provide a secure grip. We therefore have a much more prominent grip and the viewfinder, located on the top and not on the side, also increases the overall height.

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 official rating remains close 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 similar in size to an APS-C or even a full-frame camera, the G90 combines strong photo and video performance with advanced ergonomics and robust construction, making it a well-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 a direct replacement, as several features were downgraded, including the lower-resolution, 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 contrast-detection autofocus alone do not make it a camera suitable for action photography, but that is not its purpose. It is designed to be light and compact. In those respects, it succeeds.

For video, it offers only the essentials with 4K30p and a tilting but not swiveling rear screen. So, it will be a good companion for everyday photography in everyday conditions. Its build is not all-weather but still sturdy. However, it will be a bit limited in fast-paced shooting situations 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 limited battery life.

In November 2017, Panasonic released its flagship camera: the Panasonic G9, a camera with ambitious performance credentials 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 relatively controlled image degradation. Its 9-fps burst rate and deeper buffer suggest that it can indeed meet the highest demands of action photography. However, it is limited by contrast detection AF which can make subject tracking inconsistent. The maximum 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 video and very advanced features, although recording is still time-limited. Its fully articulating touchscreen, similar to the one on the G90, is particularly useful for video. Panasonic has made few compromises on the camera’s physical design. 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 if you prefer 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’ lens lineups, 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 personal preference and design can matter just as much as specifications.

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 enthusiasts, it’s great for nature, wildlife and sports photography thanks to its fast burst and improved autofocus. Its effective stabilization also makes it a strong choice 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 cameras.

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 120 fps recording and excellent sound management make it an excellent camera for advanced productions and professional workflows. Its ergonomics and full connectivity will appeal to professionals and semi-professionals who want a rugged, high-performance camera that is reliable in use, 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 stabilization make it easy to capture dynamic shots, while its weather-sealed 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 speed and precision. Its predecessor, the OM-1, is still a great alternative at a lower price, offering excellent photo and video performance.

Finally, if you’re looking for a lightweight, compact mirrorless camera that’s perfect for travel and street photography, the OM-5 is an compelling option. Its small size, powerful stabilization and advanced modes such as Live ND make it an ideal companion for backpackers and landscape photographers, while remaining relatively accessible. 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 reviews of 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 see the image quality these lenses can deliver and the advantages of having lenses dedicated to this format. You can also take a look at the articles on mirrorless systems from other manufacturers, such as Sony’s E-mount mirrorless or Fujifilm’s X-mount mirrorless.

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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