The Lumix GX7 may be old (released in 2013), but it still delivers a surprisingly enjoyable shooting experience — especially for budget-conscious photographers. It’s compact, well-designed, and packed with features like dual control dials, a tilting EVF, touchscreen, and even built-in Wi-Fi.
While its 2-axis IBIS is very limited (and doesn’t work in video), and the mechanical shutter is loud, the GX7 still shines in still photography with good image quality when handled properly. Low light performance isn’t its strength, but with the right technique, it’s absolutely usable — even impressive in some cases.
It lacks modern video capabilities (no 4K, no IBIS in video), but for under £300, it remains a fantastic, fun, vintage-style tool for photographers who appreciate great ergonomics, a retro rangefinder aesthetic, and don’t mind working within its limits.
In short: If you know its quirks and shoot accordingly, the GX7 is still a charming bargain gem.
Omar, usually a full-frame and medium format shooter, tries Micro Four Thirds (OM-3) for the first time. He’s impressed by the small size, retro design, and lens compactness. Build feels good but lacks front grip. He appreciates the OM-3’s travel-friendly setup, though it’s not ideal for one-handed use. He’s intrigued by the system’s potential and excited to explore it more.
Zach Mayfield focus of the review is the OM System OM-3 as a filmmaking tool.
The camera’s standout feature is its adjustable in-body stabilization (IBIS), which can be tuned for strength. The default IS-2 mode already delivers gimbal-like steadiness. It includes a digital teleconverter (usable in photo and video), zebra warnings, tally lights, a red recording frame, and a 1/48 shutter option for natural motion blur. Rolling-shutter performance is excellent, avoiding “jello” effects.
Essential Setup Tip
Switch the codec from H.264 (8-bit) to H.265 (10-bit C4K up to 60 fps). The H.265 footage looks dramatically better—richer color, less banding, and full-sensor readout in long-GOP mode.
Color and Log Performance
OM-Log 400 isn’t as flat as Sony S-Log3 but is easy to grade. In DaVinci Resolve there’s no direct CST, so use the official OM Log 400 → Rec.709 LUT or build a grade manually. The reviewer praises its natural skin tones, smooth highlight roll-off, and surprisingly clean image even in low light for a Micro Four Thirds camera.
Downsides
Despite being MFT, the body is larger than expected and not pocketable even with a small prime. It’s also relatively expensive—at a similar price point you could consider a capable full-frame hybrid. Still, the overall build and feature balance justify the cost for many creators.
Verdict
The OM System OM-3 is an impressive everyday hybrid: strong 10-bit video, excellent IBIS, great colors, and refined design in a compact form. Not the cheapest or smallest, but easily one of the most satisfying all-around “Everyday Cinema Carry” cameras available today.
Sony FE 600mm f/4 GM OSS + Sony Alpha 1 II – Cost: ~21,500 € | Weight: ~4.4 kg | Resolution: 50 MP full-frame | Advantages: unmatched detail, shallow depth of field, less noise, superior autofocus | Drawbacks: extremely heavy, extremely expensive
OM System OM-1 Mark II + M.Zuiko 300mm f/4 PRO IS – Equivalent field of view: 600mm f/4 | Cost: ~4,900 € (bundle) | Weight: ~2.1 kg | Resolution: 20 MP MFT stacked sensor | Advantages: lightweight, compact, excellent IBIS, macro-friendly, great for handheld wildlife | Drawbacks: less resolution, noisier files, AF not as consistent, bokeh less creamy
Real-World Results
In side-by-side tests, the Sony setup files clearly look cleaner, sharper, and smoother in the background. The OM System OM-1 Mark II images are slightly grainier and have more depth of field — sometimes even an advantage (for macro or subjects on different planes). Still, the difference is much smaller than expected, especially for web or social media use.
Price and Practicality
With the OM System you could buy the 150–400mm f/4.5 PRO with built-in teleconverter and still save around 9,000 € compared to the Sony kit. That’s a second lens and a small used car for the same money!
Conclusion
Both systems are excellent and have their place: Sony full frame → for those who want the absolute best image quality, shallowest depth of field, and can handle the cost and weight. OM System Micro Four Thirds → for those who want portability, value, and flexibility while still getting outstanding images. Ultimately, the question is: is the full frame system really worth paying more than 4× the price?
Ian (a landscape pro) has been testing Micro Four Thirds for wildlife, using the OM-1 Mark II alongside his Fujifilm X system and his compact Panasonic GX80/GX85. MFT’s 2× crop gives long-reach equivalents with smaller, lighter lenses; downside is more high-ISO noise versus full frame.
HIs Plan: buy the OM-1 Mark II for wildlife while keeping the Fujifilm X system for landscapes and as a video backup; the GX80/GX85 stays as an everyday carry.
Key info:
“Is MFT dead?” No—new gear keeps arriving; it serves a focused niche well.
“Is 20 MP enough?” For his work, yes—good glass matters more; minimal cropping expected.
Landscapes on MFT: likely fine; needs more time testing, but early lens sharpness is promising.
Chris Baitson tested the OM 40-150mm f/2.8 PRO lens you can get for $1499 at BHphoto and Amazon. His conclusion in shot:
The OM System/Olympus 40–150mm f/2.8 PRO is a sharp, versatile 80–300mm-equivalent zoom with a fast constant aperture—great reach, low-light and subject separation, clearly outperforming the cheaper 40–150mm kit.
This is a short translated summary of his 50-200mm lens review:
During his latest adventure in Namibia, YouTuber Amazing Alpha tested the OM System M.Zuiko 50–200mm f/2.8 PRO in real-world conditions. Mounted on the OM-1 Mark II, this compact setup covered a 100–400 mm full-frame equivalent range. When paired with the 2× teleconverter, it reached 800 mm while maintaining exceptional sharpness and contrast.
In the field, Alpha captured stunning wildlife scenes — from aerial bird fights to a lion hunt at dusk — all handheld. Thanks to the OM-1 Mark II’s stacked 20 MP sensor and remarkable in-body stabilization, he achieved sharp 50 MP handheld high-resolution shots and reliable autofocus performance even in fast action sequences at 50 fps.
The combination proved remarkably flexible: ideal for landscapes, macro, wildlife, and astrophotography. The built-in electronic ND filter simplified long-exposure work, while the 4:3 sensor format provided extra room for both landscape and portrait compositions.
Conclusion: According to Amazing Alpha, the 50–200mm f/2.8 PRO combined with the OM-1 Mark II offers an unmatched mix of portability, reach, and image quality — a lightweight setup capable of delivering professional results across every genre of photography.
