Reddit member Mike shared some very beautiful images shot with the $8999 (!!!) OM 150-400mm PRO lens. The images and his report got a ton if likes and comments so I think it’s worth to jump over to Reddit to see his images and also to read his findings I reposted here:

So, I’ve been slowly selling my equipment to save up for the 300 f/4. However, while stumbling around in Japan, I came across one of those rare “buy it now or you may regret it forever” situations…long story short, I passed on the prime and came back with Big White. Since my wallet wasn’t expecting this, I’ll be exclusively eating tomato soup in the foreseeable future. But whatever. I like tomato soup. 

Some things I’ve learned in recent weeks:

– Obviously the lens is fantastic, but I’m a little surprised why. The specialness comes from the versatility. The quality at every focal length + the 4.5 constant aperture + the TC + the lovely balance = a Swiss Army knife in the field. The image quality is just one bit of the equation.

– With that said, I’ll now say something that no Youtuber will ever say in a video lest they wreck their affiliate link potential: For most people, this lens is an absolute waste of money. There, I said it. This is a very niche product for a very niche user—I would wager that most people will find the 300 f/4 or the new 50-200mm to be a better buy. BUT if you tend to plan your trips around wildlife photography, or you often find yourself crawling through muck in freezing rain to inch closer to a bird’s stupid beak, I can’t think of anything more flexible. I’m very happy with my choice. 

– The OM-1 ii’s AF just works better with this specific lens (and the AF-All target mode is ridiculously good paired with it). It might be due to the motors or the extra light it’s gathering. Or maybe all my used equipment was just busted and I never knew better.

– After years of no photographer wanting to talk to me in the field, everyone and their grandma wanted to talk to me when I had Big White out. (I legit think they thought it was a new Canon lens.)To their credit, they were all very respectful when I went into my tedious monologue about the pros and cons of M43. And just to confirm the suspicion of OM Marketing, most of these guys and gals had no clue what Micro Four Thirds is.

(Side tangent: Photographers who own a Sony or Canon full frame 600mm f/4 will let you know very quickly, and it will always come up in an awkward way. Funny enough, none of them had the lens with them while they were out. They were just really proud to tell me it’s in their house.)

– I was afraid that a white lens would make animals more skittish, but there was no discernible difference. In fact, some even came up to me to talk about their FF 600mm f/4.

– This lens will NOT magically make you a better photographer or allow you to break physics: bad composition, atmospheric haze, and poor fieldcraft will still result in the same ol’ trash images…just slightly sharper. Drat.

I’m still learning the lens, but ask if you have any questions. Note, most of these photos were taken in not-great light. I’m pleased with the results, but I can’t wait for the sun to return to the PNW…

Jerred Z posted this interesting video that debunks one of the never ending myths, the belief that OM Systems’ 20-megapixel sensors are inadequate.

Despite widespread skepticism, 20 megapixels can indeed deliver impressive prints. Jerred shares personal experiences successfully printing images as massive as 5 feet(!!!) wide without sacrificing quality. This challenges the traditional notion of needing higher megapixels for large prints.

Five Guiding Concepts for Large Prints

• Good Technique and Lenses: Mastery of camera settings in manual mode combined with high-quality lenses can make a significant difference. The OM Systems lenses, such as the 12-100mm F4 and 50-200mm 2.8, are highlighted for their sharpness and reliability.
• Utilizing High Resolution Modes: Techniques like handheld high-resolution modes can yield up to 50 megapixels, or even 80 in tripod mode, benefiting dynamic range and reducing noise. Using these modes creatively can enhance output.
• Editing Matters: The editing process is crucial, like utilizing tools like Lightroom to improve image quality before printing.
• Overcoming Challenges: By embracing editing methods such as denoising and sharpening, photographers can prepare their images for printing effectively, ensuring quality is maintained.
• Collaboration with Printers: Establishing a relationship with a skilled printer is emphasized. Understanding how different paper types affect print results can lead to successful outcomes, even with lower resolutions.

Conclusion: Focus on Creativity

The discussion reiterates that final prints should delight viewers rather than satisfy pixel peepers. Photographers should focus on their craft and the emotions they want to convey through their work, rather than solely concentrating on technical specifications.

In the realm of street photography, the Ricoh GRIV has made a significant impact with its advanced features and compact design. However, many photographers are looking for affordable alternatives that can deliver similar results without breaking the bank. George Holden tested a budget-friendly option: the Olympus EPL-6 + Lumix 14mm pancake, a camera that may not be the newest on the block, but still offers valuable features for street photographers.

Comparing Features: EPL-6 vs. Ricoh GRIV

• Sensor and Image Quality: The Ricoh GRIV boasts a 26-megapixel APS-C sensor, while the EPL6 comes equipped with a 16-megapixel 4/3 sensor. Although the GR4 has a clear advantage in resolution, the EPL6’s sensor is still satisfactory for street photography.
• Snap Focus Mode: One of the key features that makes the Rico GR4 attractive is its snap focus mode, which is essential for quick street shots. While the EPL6 does not have this feature inherently, you can customize the camera’s buttons to emulate snap focus functionality.
• Portability and Design: Both cameras are compact and suitable for street photography. However, the EPL6 offers a fully tilting LCD screen, a distinct advantage for waist-level shooting, while the GR4 has a fixed display.
• In-body Image Stabilization (IBIS): The EPL.6 features a 3-axis IBIS, less than the 5-axis stabilization found in the Rico GR4 but still helpful for achieving steady shots.
• Burst Mode: Surprisingly, the EPL-6 outpaces the GR4 with an 8 FPS burst mode, compared to the GR4’s 4 FPS. This can be beneficial for capturing fast-moving subjects in dynamic street scenes.

For $80, the Olympus EPL-6not only provides a functional camera but also a compelling shooting experience that encourages creativity through its limitations. While the Ricoh GRIV is undoubtedly more sophisticated, the EPL6, when paired with a fast lens, can hold its own in everyday street photography. Ultimately, the choice between the two will depend on your budget and specific photography needs. As always, the best camera is the one you have with you.

Omar Gonzalez had an intensive time with the popular OM-3 (BHphoto, Amazon, Adorama, Fotokoch, FotoErhardt, Calumet, Clifton=

His verdict in short:

The OM System OM-3is a win for creators who shoot outdoors in all weather, love handheld long exposures, and want long-reach results from small lenses. It’s less compelling if you’re chasing top-tier video specs, ultimate low-light performance, or a truly tiny street camera. For those needs, consider alternatives—or hope for a future, smaller PEN-style successor. For everyone else, the OM-3 embodies why Micro Four Thirds still earns a spot in 2025 kits.

Robin Wong explores the Olympus Zuiko Digital 50mm F2 Macro lens, showcasing its capabilities as both a macro and portrait lens. He demonstrates this lens’s performance when mounted on the OM System OM-1 body, particularly highlighting shooting portraits.

Key Points

• Overview of the Olympus 50mm F2 Macro: Celebrated for its dual functionality as a macro and portrait lens.
• Adapter Necessity: An adapter is required to use the lens on modern camera bodies.
• Autofocus Performance: Discusses the autofocus capabilities and how they affect shooting experience.
• Image Quality: Various image samples illustrate the lens’s sharpness and color accuracy.
• Longer Focal Lengths: Comparisons made with other lens lengths and their respective applications.
• Lens Flaws: An honest assessment of the shortcomings of the Olympus 50mm F2 Macro.
• Recommendation: Conclusion on whether the lens is a worthwhile investment for budding photographers.

Conclusion

The Olympus Zuiko Digital 50mm F2 Macro lens stands out as a versatile tool for photographers, offering excellent image quality and performance for both macro and portrait work. Despite a few flaws, this lens is recommended for those looking to enhance their photography game.

Sarah Teng tested the OM-3 for the Adorama channel:

She loves the OM System OM-3 because it feels nostalgic, is extremely portable, delivers surprisingly clean and sharp images despite its Micro Four Thirds 20MP sensor, and performs exceptionally well during travel. She emphasizes that sensor size doesn’t matter as much as people think—especially for social media—and praises the color science, weather sealing, compact footprint, and film-like styling.

Her main takeaway:
The OM-3 is a fantastic travel and everyday photography camera that produces great results, feels great to use, and is worth recommending—even at the $2,000 price point.

You can take epic shots with a tiny inexpensive MFT camera like the Lumix G100.